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■■■ ■ 



American nightmare - the grimes files 




Write: Po Box 914, Belfast, BT15 5YA,N. Ireland. 

new yo«K mome 
vttmmm skk or 
ir Ait pommel voo 
with the mremm m 
power or their live 


enm»« fe»ri»i»e uw 



Fat Wreck Chords 

r-» n_ 'i n ri : 

P.O. Box 193690 San Francisco, CA 94119; 

vvww.fatwreck com / 

Sept 2002 

Unfit for Consumption, c/o Trevor Meehan, 46 
Rosturra Cres., Woodview Pk., Limerick, 
Ireland. Email : 

Phew! Another mad dash to get the zine finished and off to the copiers. I 
swear I’ll give myself plenty of time every time but it never works out that 
way. So if something makes no sense what so ever you can put that down to 
the tiredness that consumed me in the early hours of the morning. 

So what have we got then. Okay theres two interviews with two Irish bands 
who’s music, live shows and general attitude has impressed me quite a bit. 
Those bands are 22 and Kid Blunt. When I suggested the interview to either 
band they were eager, helpful, quick in response and overall very grateful 
for the interview. I’d like to thank them both right here. Do yourself a favour 
and check out their music right now, both are selling high quality recordings 
for next to nothing. 

Theres also interviews I conducted with legends like Speedo and Brian 
Baker. Both were different in personality but both were very entertaining 
and relaxed people to do interviews with. As you’ll see, those interviews had 
very different results! 

And theres plenty more besides. Check the cover that’s what its there for! 

Enjoy the words from “Noble Stabbings” by Dillinger Four on the back 
cover. Make of them what you will. The question is are they linked to the 
cover though? And what of the cover? The stonework is known as the Treaty 
Stone for those unfamiliar. It’s been a symbol of Limerick for years. The 
knifes are what has taken its place though in recent years when people talk 
of Limerick. The cover is a little experiment. I’m trying to see what kind of 
reaction is will gain. Probably none. 

M| m 

Thanks the following for their contributions and support: Michelle, Jane, 
Jamie, Conor, Ben, Steve, Tadhg and Rich. Thanks also to everyone who 
took out adverts and anyone who continues to buy this zine and support it. 

Unfit for Consumption now has a website. Check : www. hardcore- 
times. com/ufc for regularly updated news, gig guide, reviews, interviews 
and more. Thanks to Alan and Shay for that. 

Playlist for Issue 6: Fig 4.0 / Dillinger Four / Dillinger Escape Plan / D4 / 
DS-13 / Hot Water Music / Snapcase / Dogshit Sandwich / Kid Blunt / 
;; Christiansen / Bum Hollywood Burn / Sworn In / The Dagda / Dag Nasty / 
Isis / Tear It Up/ Rydell / 22 / Time In Malta ./ The Blurters. 

Some Irish news... 

Dublin DIY club GZ (at the Parnell Mooney), moves from Thursday night to Wednesday nights from 'September 4 on onwards. Jason Matthews has 
a pretty cool cd for sale. It ’s a worldwide hardcore compilation called And The Nightmare Begins ". It features 25 bands from 13 different countries. 
If you're interested in getting a copy it costs 6 euro / £5 sterling, post paid from Jason Aiatthews, J 9 St. Olivers Pk . , Castlebellingham, Dundalk, 
Ireland. Or Email : iasonml 80( Giveamanakick and Mr. Creosote released a split CDR single on their own label. Kid Blunt released 
a cd ep entitled “ '82”. Contact step he nkidblunt(d).hot f or more. “Immobilaire” is the title of the second release by Belfasts Stand Up Guy. If 
you’re keen on the sounds of Will Haven and Neurosis, then you best check this flicker out fast, The State Pathologist Dr. 
John Harbison have recorded a demo of their ./Brutal. Truth meets Candiria racket called “ Veins of The Earth”. Contact : 
statepathol o 2 ist( [Revolution Of A Sun has formed from the ashes of the short lived Cork everything-core machine Half Mast. Skippy 
has remained on vocals but Joe and John have left. Noel, Ed and a new John fill the guitar and bass spots and Patrice had joined on drums. Again the 
new band will continue to mix the grind, metal and hardcore styles. A Small Cry Distro, based in Belfast/ now carries recordings by various up and 
coming metalcore bands. Eamil asmcillcrvCcbhotmailcbm or write 67 Upper Newtownards Road, Belfast } BT4/3HT, Northern Ireland for the list. 
Promise Distro continues to get jn some great stuff from labels like Reflections, Bridge 9 and more. Onlv a Some new 
bands: The Poke are a Limerick scene super group of sorts. The play' a brilliant mix of punk, metal, hardcore, grind and noise. Tophi are basically 
Gout with a new drummer. xKnifedx is Meros new band. They play the fast rocking thrash stuff They’ll be recording soon for possible splits with 
Bastard Youth and maybe even xLimpwristx. Scam/ Shitless (great nb me!) also play the fast thrash stiff Boxes from Offaly play a blend of Shellac 
meets emo-rock. Pete The Killer are some Steam Piggers and a Ner danger. The play stripped down old school hardcore. Queen Kong from Cork are 
an interesting industrial beat pop duo backed by crazy samples and weird stage wear. Some new DIY promoters. Be Your Own Reason gig 
collective have a lot of gigs lined up in Cork. Contact Patrice at patriceQjluid. ie or bevourownreason(d)hotmail.cdm .NJh[lt up in Ballymahon, The 
No Ego Collective are holding gigs at Paddy’s Pub. Contact Dave at or check their website 1 . Check the website for more. Address above. 


I really don't know if I should be 
writing this as my last 
"appearance" in a fanzine was 
such an unmitigated disaster. But 
here goes. 

Human Rights? 

Thank (insert deity's name here) 
that the bloody marching season 
is winding down, it was looking 
at little hairy up in Belfast for a 
while. I had the good sense to 
retreat to the safety of my parents' 
house in far away Dundalk. The 
thing that got my goat, so to 
speak, was at the outset David Trimble declared that the right 
to march was a "human" right! Well, as you will no doubt 
agree, there are a number of things wrong with that. Firstly, if 
the fat, tattooed, shaven-headed, sectarian, racist paramilitary 
fuck-heads that organise and participate in these rituals of 
hatred are to be considered human then I'm afraid I shall have 
to apply for some new classification under law or something. 
Secondly, since when was swaggering around the streets drunk 
and shouting obscenities, menacing and threatening the rest of 
the populace an exercise of HUMAN RIGHTS? I don't have a 
copy of the Universal Declaration in front of me right now so 
I'm not as familiar with it as, say, a LAWYER (Mr. Trimble...) 
might be, but I'm pretty sure that the right to assault, batter, 
generally cause harm to people; destroy lives and (don't worry, 
I haven't forgotten you capitalists!) property and subject the 
"other side" and all right-minded members of the entire 
"community" to a month-long curfew isn't there. I could be 
wrong, maybe I missed the meeting where they amended it 
(did they do that at the Agnostic Front show? Shit. I knew I 
should have gone...). 

I'll recognise the right to a "culture" however base and 
exclusionary it is. I'll even let people have rituals, freedom of 
association, freedom of passage, all that crap. Hell, I'm feeling 
generous, maybe I'll let them have a parade from time to time! 
But if that four-eyed (I love saying that, it's like I'm writing for 
the Beano) no-lipped dickhead thinks I'm going to allow 
violent processions of the scum of the earth through ordinarily 
peaceful and harmonious streets he's got another thing coming 
(I love saying that too, 'cause now I've got that Judas Priest 
song in my head!) 

We all know that there is something that just isn't 
right with Orangeism, but we let it go. Here in the Republic 
there are Orange orders and annual marches but they don't 
bother anyone very much and there is no trouble whatsoever. 
If people want to have exclusive little clubs whereby 
membership is restricted to those who share their particular 
mode of worshipping a god that may or may not exist, fine 

things get ugly and one's club and cultural identity is founded upon 
the violent intolerance of those unlike one's self. It's not easy to 
tolerate the assertion of cultural rights when the only means of 
cultural expression is marching into neutral and "opposing" areas 
with paramilitary. 

ii marching bands and their adherents in football jerseys, their 
grotesque faces concealed behind scarves, shouting, screaming, 
destroying anything with which they do not identify; setting off 
fireworks, discharging illegally held firearms, assaulting people and 
throwing stones. If that is the case then we must reconsider our idea 
of rights. What about my rights? What happened to my rights to 
life (you heard me, life! Not mere survival!), Liberty, health and 

iii Are all my rights to be suspended every time a shower of 
degenerate morons wanted to have a riot then insult me by declaring 
it an expression of their culture? We've already reached a time 
when we have to have a right to our rights, so why not just give the 
rights, human and civil, to those people whose existence and way of 
life does not depend on harming others? Why not just lock the rest 
of those fuckers up and let them all kill one another keeping them 
well away from the rest of us. 

Please don't misunderstand me. I'm not advocating a stifling of 
Protestantism or any of its more dubious cultural expressions, but 
life is hell in good old NORN IRON for everyone, regardless of the 
"side" they came from, who doesn't want to play the game of street 
fighting, rioting, menacing the other side, destruction etc. There 
exists a destructive underclass on both sides, why then should we 
suffer its violent excess? Will Mr. Trimble be there to defend the 
rights of those people intent on getting along with each other, 
working and prospering (shit, there I go again, Tory! Tory! Tory!) 
together? Or is he on the side of the bigoted swaggering, loutish 
testosterone monsters and their ratty, venomous, malevolent, track- 
suited minions? The annual defence of these vile rituals for has 
offended me far too long, but this latest excuse incensed me more 
than all the others. Maybe I should forward this piece to Dave 

Cat Scratch Fever! 

I just had to get a Ted Nugent song in somewhere. On a lighter 
note, a beautiful young black cat that I have named Miss BenBen 
Imogen Ravenette Bouvier recently came to live with me. She's 
very kind and loving though I fear that I am spoiling her rotten 
(what with all the Ferrero Rocher I'm ramming down her neck) and 
I'm a little out of practise with cats, the last of mine having been 
eaten by foxes some years ago. 

I kid you not, foxes eat cats. 

Alright, I had a few as well... 

What? What's your problem?! I was just doing what the Judas 
Priest song told me! Remember: 

"Livin' after midnight! Eat all of your cats..." 

i . I wouldn't want to be in that sort of club anyway. If they 
want to have little outings where they can meet up with other 
like-minded folks to sing songs, beat drums, bark at the moon 
or whatever it is they do then that's fine too. After all, we all 
have our own clubs, aggregations, meetings and rituals that are, 
in at least some measure, exclusive. The problem arises when 

I'm clearly not going to get out of this one so I was wondering if any 
of you readers have any advice or suggestions for the care of cats. 
Trev, just to make this even more like the Beano, you should add a 
reader's speech bubble entitled "reader's voice" for this bit. Then 
you can make it like Viz and write swear words. Like Fuck. And 
shit. And wanker. 

I was going to write some more but I reckon I should just save 
that for my own 'zine. If you want to read about 1950s pin-ups 
and assorted nekkid wimmin, inappropriate humour, old toys, 
my adventures playing soldiers not to mention my campaign 
against spide-ismiv then you’ll love The Bedside Predator. The 
new issue will be out soon, free to those who can afford it, very 
expensive to those who can't... 

i Isn't membership of the Roman Catholic Church a pre- 
requisite for membership of the Ancient Order of Hibernians? 
I'm not 100% sure; can someone check that out for me? 

ii This is not a suggestion of membership of any proscribed 
organisation. However the uniforms, the marching etc., you 
get the idea. Besides, boy scouts and the like are paramilitary 

iii Well OK, but I live in a capitalist society, if I get a right to 
property then fuck it. At least I have a right to something. By 
the way my column in The Daily Telegraph starts in 

iv A spide is what Belfast people call a ratty, obnoxious, 
aggressive little gurrier whose interests include sportswear, 
dance music, illegal drugs, solvent abuse, joy-riding and 
random acts of wanton violence and destruction. Spides also 
enjoy jeering at passers-by, shoplifting, bullying and attacking 
(physically and verbally) all things unlike them. These slack- 
jawed, swaggering little bastards are every bit as intellectually 
bankrupt as they are morally corrupt though their cowardice is 
such that perpetration of wicked deeds is reserved for when 
they are surrounded by other spides, giving rise to the 
expression "as silent as a solitary spide". They have infested 
the entire British Isles and are common to all parts thereof 
though known by different names. Please let me know what 
you call them in your area for my Encyclopaedia Spide-annica. 

E-mail me at 

Moving anywhere is difficult at 
the best of times, let alone the 
worst. Coming overseas at a 
point in my life where 
everything seemed to be falling 
into place; easy lifestyle, a 
place to live close to the city 
and with friends, a successful 
band with a new record coming 
out and awesome touring networks, and the great city that 
Melbourne is lets not forget! Where I lived was so close to the 
markets that as I woke up you could smell the activities of 
Melbournians at dawn, an amalgam of fresh coffee, baker’s 
delight and city commuter’s cologne.... my bedroom window 
looked out upon apartments-to-be and when I rode my bike 
into town I’d use the tram tracks for fun, gingerly balancing 
my strong flat white with soy milk in one hand as I steered 
myself out of harm’s way. Great record stores, great venues* 
and great bands, something I’m yet to find in my recent travels 
all credited to one place at one time. 

frustration of wanting to know more. However I didn’t set out to 
write a piece about the merits of Melbourne. For all my praise of the 
city, it is not even the one in which I was bom, that would be a 
different story altogether. Moving to Ireland at the end of January 
this year was fucking hard and I think I have the right to be proud of 
doing it at such a brutal time when everything was cool and from the 
outside there seemed like no reason on earth why I should disrupt it 
all. In those last few weeks we toured with heartfeltself across the 
country, recorded a six-song record in one day, and played two 
farewell shows in my last week of being in Australia. As well as 
this, I was busy organizing the big move - passports, flights, a week 
in London, a night in Tokyo... More than one half of me dreaded it 
all, but a slither of excitement would at times shoot up my spine and 
let me know that is was okay to feel adventurous amongst all this 
sadness and emotion that accompanies the end of eras. 

After the last heartfeltself show we went swimming. I hadn’t slept in 
nights and I wasn’t about to. Freaking out in four degree 
temperature in the middle of Tokyo city a night or two later is 
testament to that! Breaking into our local public pool at about four 
am, stealing tofu from the supermarket and feasting at 461 Victoria 
St. until dawn is something I’m never likely to forget, my last night 
in Melbourne. I remember getting on the plane and feeling a sense 
of severe horror, like “what the fuck am I doing? I MUST GO 
BACK!!” It passes, but the idea of staying could have so easily 
been a reality, in the end that’s what made my mind up - it’s too 
easy here and I want something more. 

Why Ireland? Introduce my other band, Clann Zu, our project that 
started life in Lygon street bedrooms writing music and has found 
its way here in Dublin, trying to work our guts out and make this 
thing a “global music project”, meaning something that we can tour 
extensively throughout Europe and beyond with, hopefully with the 
aid of some friendly labels to distribute our music. A massive task, 
but one we are definitely ready for. Ireland seemed like a good 
start, some of us have family history here and it is a good base for 
working out of Europe, not exactly “the continent” but a place 
where a few dudes who are no-one can perhaps begin to make 
waves, not get swallowed up in the swell too soon, before we lose 
our fighting hearts. 

And Dublin seems like a positive place to be right now. Cool 
venues#, people with money to spend (music hopefully being quite 
high on their spending agenda!), and a lot of touring bands the likes 
of which remote Australia rarely catches a glimpse of. (Another 
reason we made the move, but in reverse - if touring bands from the 
US and Europe can’t afford to get to Oz, then how are we gonna 
afford to tour being based so far away?) Again I have situated 
myself close to the city. I can’t stand the stagnancy of life in the 
suburbs, you might as well be in any country in the world, it all 
looks the same shade of shit. Living in Rathmines I can see what’s 
going on and access everything easily without having to spend 
money on travel. Walking has always been the best way tob 
experience a place and get to know its ins and outs, better 
interaction with the environment that way. Although it is expensive, 
at times double or triple what Melbourne is, the most positive way 
to encounter foreign places is acceptance - forget what you used to 
know and don’t work off it cos it’ll just cause you grief. A new 
place is a new place and we are doing okay here. Poster runs are 
harder and there are hardly any places to hit, coffee is shit out and 
out, the euro is cool, old vans are hard to find and the falafel shop in 
Camden fucking rocks. 

With all this at my disposal, why the fuck should I live 
anywhere else? At my least positive moments, I ask this 
question half seriously, but am reminded that without diversity, 
stagnancy would more than likely set in - a city I now adore 
from a distance may well have become for me what it is for 
many others I know - hated and disgusted out of the sheer 

Check it: 

* Alas, some of these are dying as the city becomes congested and 
over run with the modern age and its disgusting ability to push 
consumption onto us, filling our city like the rats and the plague. 

# Although this whole “pay-to-play” thing is the most fucked 
thing anyone can ever think of in the underground music 
scene.... I know it is not only Dublin that has this method of 
ripping off bands, but for us coming from a place that helps 
strengthen alternative music through open minded venues it 
was a fucking big shock.... music is already hard enough to do 
with serious intent, we don’t need even more barriers that stunt 
the growth of musicians from the outset. 

Where’s the Mentality? 

Right, Trev asked me to 
write a column which is 
something I don’t think 
I’ve done before so here 
goes. The topic I want to 
talk about is something 
that angers me a lot, 

Drunk and Wreckless 
Drivers. Now maybe why 
this angers me so much is 
because as an 8 yr old my 
eldest brother then a mere 
23 was killed pushing his van along the hard shoulder of a 
motorway (a silly thing to do)by a drunk driver who smashed 
into the van and killed my brother, and the driver was that 
pissed he had no idea he had hit anything , didn’t stop and was 
eventually stopped 100 miles or so away from the accident 
scene. So I guess that’s where the basis of my contempt for 
them comes, watching my dad then in his mid 60 ’s break down 
etc stuck in my mind as clear as if it happened yesterday, and 
I’m sure many who read this will know either a relative/friend 
or neighbour or indeed themselves who has lost a loved one 
due to this ever increasing menace. 

Drunk Driver’s should be treated like murderer’s, they are 
potential murderers and you might say that if they cause an 
accident it’s un-intentional therefore not murder but it’s simple 
as this anybody with an ounce of intelligence knows that 
drinking more than the allowed intake and then driving is 
extremely dangerous and putting lives at risk so as far as I’m 
concerned it is intentional, if you don’t intend to go over the 
limit then you will stop, if not then you are out of control and 
when out of control you are liable to cause severe damage to 
the innocent. Basically anybody who drink’s and drives and is 
caught deserves a lengthy prison sentence and not some cushy 
joint either, hard labour to make them think twice about doing 
it again. 

Now on to Wreckless Drivers, I think the stem of this problem 
is the age that people are allowed to drive at, UK and Ireland 
are the same 17. That is far too young, there is no way that 
your average 17 year old is mature enough to handle the 
dangerous weapon that is an automobile sensibly. Of course 
there will be some 17 year old’s that will make excellent 
careful drivers but in general a 17 year old in a car is like 
giving a loaded gun to a sadistic maniac. 

I remember myself and I will hold my hand up and say I was 
an idiot at 17, living in the small town of Edgeworthstown, Co 
Longford where nearly every 17 year old I knew was insured 
on their parents car, most had never even had a driving lesson 
and virtually non of them had full driving licences. My mom 
insured me on her Mini, I had virtually no lessons either and 
was driving every day of the week (unsupervised without L 

plates), I got stopped numerous times by the Pig’s and they never 
said jack shit as it was commonly accepted that all the youngsters 
didn’t have anything but provisional licences which anybody can 
have as long as they are 17, have no disabilities or driving offences 
and pay the money. I remember a lad from my town who was in the 
same position and caused an accident that killed a child, what a 
thing to have to live with, but whose fault was it, the 17 year old 
driver or the law that allows children to control dangerous weapons 
in the first place because that’s what an automobile is, A Weapon, to 
your average 17 year old (especially male) it’s a toy. It’s a well 
known statistic that young drivers (especially young male drivers) 
cause a lot of accident’s, hence why insurance is so expensive under 
the age of 25, it seems that young females are much safer, this is to 
do with the fact that females in general mature quicker than males 
and are not as wreckless, a lot of accidents are caused by young lads 
acting big and hard (Macho) trying to impress the ladies who mostly 
unless they are brainless just think the lads are sad wankers. 

There’s a sad trend called the BOY RACER, he is normally a trendy 
tracksuit/baseball cap wearing teenager who likes rap and has 
wealthy parents who foolishly buy him a fast car and pay his way 
over the top insurance. To him a car is nothing more than a toy 
which he thinks makes him cool n macho and will pull him some 
girlies. These people are as far as I’m concerned POND LIFE, (thick 
as whale omlettes) they have no consideration for the lives of others, 
my opinion is if you wanna drive like a cunt and put your life at risk 
go right ahead and find an empty road or a field or something but 
have some consideration for those who are’nt stupid and want to 
live. There seems to be an ever growing army of them and the 
police don’t seem to be willing to do any thing about them, even 
though they know they are law breakers and cause accidents, WHY 
WHY WHY WHY is this??? I’ll Tell ya why, the same as any 
other thing in this greedy world we live in £££££££££££££ 
insurance companies make a hell of a lot of cash from the over the 
top insurance they charge the under 25’s and that cash is more 
important than human life, they know these people are dangerous 
and will cause accidents but they still allow them to drive but 
charge them a seriously high amount of money for the privilege. 

So who is to blame for this?? The young driver or the system??? 
Well it’s simple the system of course. It needs to be changed, as far 
as I’m concerned the age of being allowed to drive should be raised 
to 21, many 21 year old’s are still stupid but in general that 4 years 
would make a huge difference and I’m 100% convinced it would 
reduce in a big way the amount of accidents caused by young 
drivers. May I add also that I am not blaming all wreckless or drunk 
driving on youngsters as I know there are plenty of so called mature 
adults who are guilty of these offences also, summing up my 
argument is that children are more into toys than adults and many 
children see automobiles as toy’s and toy’s they are definitely not. 

Sadly though nothing will change, the MONEYGOROUND must be 
kept intact to keep the FAT CAT in his privileged position all at the 
expense of human life. - Sad But True 

Oooh, where to start. I suppose 
coming home reeking of beer, 
covered in glitter with a camera full 
of photos, a chest infection, a pile of 
tapes/cds and a DESPISE YOU t 
shirt given to me by friends should 
indicate that I had a good weekend. I 
feel bad for you if you missed it, missed out on the bands, the fun, 
the food and the overall atmosphere. Yes friends, the annual 
reminder of why we are punk known as the WARZONE festival has 

come and gone for another year, and after missing it for two 
years consecutively I only appreciated the 2002 event all the 
more. So what happened? I suppose you_want me to start with 
the bands, yeah? Fair. Saturday had a more consistently 
Hardcore orientated line up that made every band essential 
viewing for me, while Sunday was a bizarre mix of more 
traditional 3 chord punk rawk and full on Terrorizer magazine 
style "metalcore". Saturday first then: After a few bevvys in 
the Front Page while "La Haine" is on, and some quality time 
hanging out with friends I haven't seen in ages, Merro 
KNIFED's pretend Swedish accent got the day off to a good 
humoured start alongside their patented blazing DRI 
thrashcore, before EASPA MEASA took to the stage for a 
relentlessly tight set. Definitely better as a four piece 
nowadays, and Clodagh seems more confident as ffontwoman 
than ever which is cool. Not sure about the new lyrics to the 
chorus of "Sexy Results" though. Great band, and on today's 
showing, the forthcoming album should rule. 

STRESS really deliver the goods today as well , a more fierce 
version of themselves than I remember seeing in a long 
time.. maybe I imagined it but I'm pretty sure they're a 3 vocal 
unit now as well (bassist/all round nice guy Derenzy was I'm 
pretty sure doing some additional bellowing). Their set makes 
me think about how massively underrated they are. DAGDA 
debut the new 5 piece line up today. Lyncher adds a much 
needed visual focal point to the band , and they rock and all, 
but I've seen them a million times and I'm hungry, so after a 
few tunes it's time to fuck off down to the cafe for some of the 
most awesome vegan chocolate cake known to mankind. When 
I go back upstairs , BASTARD YOUTH proceed to steal 
everyone's thunder by doing what will prove to be the most 
awesome set of the whole weekend. Eoin pushes some drunk 
twat off stage before they even start, Karen is dressed as a 
gorilla, and Ken Sweeney is, I have to admit it, the best front 
man in the scene right now. The guy is a tornado of flailing 
limbs, one liners, disco moves and spends much of his time in 
or on top of the audience while Ian , Kaz , Stanto and Eoin 
deliver furious fuzzed out chaoscore and spazz out like they've 
taken a ton of drugs. The kids go wild. BY are more hardcore 
than you or I will ever live to be, and cooler than they'll ever 
know. Awesome shit. 

LOSING THE BATTLE take second place for "band of the 
weekend" too, with some crazed downtuned hardcore and a 
manic frontman, ex members of Ebola and My name is Satan, 
current members of Boxed In and The Devils, and Martin, 
Bradford's own David Yow on vocals.. these kids fucked us all 
up with their LEFT FOR DEAD meets 16 ribcage shattering. 
My new favourite band. DEBRIS play later in a more punk 
rock fashion, I miss COLD WAR and SCUNNERED because I 
am drunk and having glitter fights with Henry, and soon it's 
time for bed in Gary and Averil's gaff. 

SOUND are good but the energy level seems low which stops them 
from being great. Altho having met Ror in the throes of a hangover 
earlier in the day I don't blame them, and PS on a bad day still kills 
most bands on a good day. RUNNIN' RIOT eh? What can I say, I 
loved them. I absolutely loved them. Which is weird cos I’ve never 
liked them before. I blame the booze, and watching a hundred or so 
punks go wild while they play. SPINDRIFT are unremarkable 
metalcore, Una likes them, Glynn and me have a friendly argument 
about them. STAND UP GUY I have been waiting to see/hear for a 
long time, and their Will Haven influenced noise is a delight to my 
drunken ears. Not entirely sure they were as mind blowing as 
everyone had previously led me to believe, but they were definitely 
rockin'. SET IN SILENCE sounded like Merauder from the Cab 
office across the street, which is where myself and Una sat, boozed 
and exhausted waiting to get a ride home as they played in the 
centre. So I'm not too upset about missing them. Soon it is 
Monday.. my health is destroyed, the bus awaits, and Warzone is a 
sweet sweet memory for another year.. So there you go.All over for 
another year. Roll on 2003. 

Next time, I will write about something else I should have written 
about this time. Read a book. Listen to music besides punk. Skate 
badly.Drink coffee. And don't let the bastards grind you down. 
Jamie ( 

Oh yeah.. as well as being the most awesome woman on earth, Una 
Bomber is responsible along side Ed Spudmonkey for a new distro 
called BROUGHT IN DEAD, carrying a small but growing list of 
DIY punk/hc records. Drop me a line and I'll put you in touch. 

I have just finished 
reading, for the second 
time, what I consider to be 
possibly the greatest piece 
of Punk Rock Fiction thus 
far written. Unlike my first 
reading - which left me 
with the impression of it 
being merely a great story 
of a guy who fronts Punk bands in age when it really mattered - this 
second devouring of coherent prose left me thinking, questioning 
myself and looking many years ahead. 

The book in question is Charles Romalotti’s ‘Salad Days’. It’s the 
story of one Frank Smith, small-town America resident (Iola, 
Kansas to be precise) and owner of a dreadlocked mohican, set in an 
era when such a coiffure was not just socially unacceptable but also 
put one’s self-preservation in acute danger thanks to all sorts of 
misguided and small-minded jocks, tough nuts and blinkered 
assholes. Frank goes on to front a couple of bands, one of which 
manages an ill-fated tour of America. 

Next morning, after getting up early to watch "The Decline of 
Western Civilisation" and gape in awe at footage of the Germs, 
it's time for breakfast and booze. Bandwise I opt out of the 
first bunch, so I can't tell you if DANGERFIELDS, DECOY 47 
or LOS CABRAS were any cop cos I'm outside drinking wine 
with my friends, talking bollocks, watching the skating/football 
(featuring Eoin BY's flying shoes)) and being pelted with 
rocks. The weather is glorious, the atmosphere is friendly, the 
thai curry is the food of the gods, and MR NIPPLES are 
horrible. So are THE BLACK SUPREMOS - their mix of 
Merzbow,Butthole Surfers, Boredoms and cute girl singer 
sounds awesome on paper but in real life, trust me, it was crap. 

The Game Show is funny. Yes, Chris Black got naked. PUGET 

Romalotti infuses incredible characterisation into the individuals 
present within the story - to such an extent that you feel you know 
their thoughts and desires even before you read them. You also bare 
witness as to how Frank and his cohorts progress and mature as their 
lives move onward, but not necessarily upward. 

The book ends with a degree of disillusionment. Frank’s final band 
progressed to a point which saw its previously large HC following 
disown it for no other reason than the band’s attempt at progression. 
It doesn’t appear they did an SSD or T.S.O.L and went plumy 
Metal. It appears more in keeping with Bad Religion’s actions after 
‘How Could Hell Get Any Worse’. Frank’s band, like Bad 
Religion, just wanted to progress. The difference is, where Bad 
Religion’s ‘Into The Unknown’ was a cheesy, keyboard driven slab 

of mainstream rock that deserved the derision foisted upon it 
complete with the total debasement of their fan base, Frank and 
his band, The Jerk Offs, went on a more Industrial trip. .The 
music remained hard and uncompromising, yet this progression 
into apparent electronic noise terrorism alienated those who 
had followed the band for years. The failure of their audience - 
any audience - to grasp the ideal of progression destroyed the 
band’s infrastructure and lead to the rude awakening that Punk 
and Punks in general, just like anything else, dislike change. 
They’re content to hear the same beats, the same structures and 
in turn, eventually fall victim to the same sense of boredom 
and torpor Frank found in playing straight Hardcore. 

In a moment of reflection, I considered the fact I have been 
listening to Punk for a little over twenty years now. It has 
played a significant role in my life for over two-thirds of my 
time on this planet. What happens when I - or you - discover 
enough is enough? What fills the void? After twenty years 
involvement, the words of 7 Seconds ‘Comitted For Life’ do 
have a certain sincerity about them. I’ll always have an 
intrinsic link with Punk, no question. My pulse will always 
quicken when ‘Sonic Reducer’, ‘Pay To Cum’ or 
‘Scuffletown’ is heard. I’ll always recognise that Johnny 
Thunders or Greg Ginn are ten times the guitarist that Eric 
Claptout is. They are unshakeable definites. 

But I do understand where Frank’s disillusionment comes 
from. In producing Scanner zine, I get to hear an awful lot of 
new records. This puts me in a very fortunate position and I 
give each one a considered listen and an honest review. The 
problem lies in the fact that sooooo many bands are just going 
through the same motions yelling the same manifestos over the 
same chords. It seems too few bands wish to inspire while 
many seem more at home wallowing in the faithless cavity of 
regurgitation. When all the bands and records I receive have 
that effect, it’ll be time for me to glue shut the pages of 
Scanner and move on, letting those with a better grasp on 
modern times take over. 

But move on to what? 

Punk has formed the backbone of my social life for a long time 
now. Most of my friends locally, nationally and internationally 
have all been acquired with Punk as the common ground. 
From an outsider’s perspective, this could all be looked upon 
as a form of social safety blanket. We - you the reader and I - 
of course know different. There are many fine, upstanding 
people in this scene of ours and many of those I have - 
hopefully - the honour of calling ‘my friend’. Yet, when I get 
old and grey (or older and greyer as some of you cheeky 
bastards are no doubt saying) and no longer feel at home at the 
show performed by the latest inheritors of ‘Kings Of Punk’ 
crown, what happens? 

I had a glimpse of this last night. It was a friend’s birthday - a 
friendship which developed in parallel to our love of Punk 
Rock. At this little celebratory sojourn, was a guy and his wife 
who I used to be in a band with many years ago. It was a 
pleasant evening it has to be said. The weather was a 
wonderful concoction of hazy, late Summer warmth coupled 
with a gentle, refreshing breeze - perfectly befitting the 
festivities of a Summer birthday gathering. Copious quantities 
of Export got consumed (sorry Straight Edgers - you have your 
thing, I got mine), plenty of stories were recounted from years 
gone past and yes, even a bit of derisive piss-taking was 
administered to the trendy twats of the locale that is known as 

Discussion of music - today’s music - was non-existent, bar the 
polite obligation of asking me the probing question, “ Are you still 
doing a zine Steve?” That in itself was delivered with feigned 
interest! In its place was excited talk of mortgages, houses, 
furniture, babies and childbirth, work and other - arguably - 
mundane trivialities that have now ensconced themselves within the 
psyche of these once passionate, idealistic people. My attempts to 
inform everyone of the wonders represented by the Dillinger Four 
live experience were lost; it was now I talking trivialities in THIS 
environment. Admittedly, it was great to hear my friend and 
birthday girl give graphic details of childbirth - right from the colour 
of the afterbirth, to the post-delivery vomiting and even the fact she 
shit herself during labor! ! 

I don’t wanna end up in that environment where passion concerning 
furniture or a job is paramount. I don’t wanna be so shallow as to 
talk about mortgages at someone’s birthday celebration. If this is 
the road we all face when we abandon Punk Rock (or it abandons 
us), when we find it no longer gives us the same buzz as it did when 
we first heard those thrashing guitars, pounding drums and 
belligerent vocals, then I have to say - with all sincerity - it worries 
me. I’m troubled! 

I wanna grow old gracefully - not to the extent of wearing plaid 
trousers with a butterscotch tank-top while reclining in my rocking 
chair after a hard day in the potting shed - just with a degree of 
dignity. I don’t wanna be a Peter Stringfellow of Punk and get 
disdainful looks and criticisms from the new brethren of Punkers 
that’ll populate Camden’s Underworld in 2025. So, what is my 

I DO feel the onset of a certain apathy pertaining toward music of 
late. That is not down to any nauseating disaffinity I feel toward the 
music or its participants. It is down to the same conclusions Frank 
Smith deduced for wishing to distance himself from Punk. There is 
a complacency among too many bands. There is a lack of respect 
for themselves. In that, I find greater offence than any morally 
shocked Tory ever did to Steve Jones saying, “You fucking rotter ” 
on Bill Grundy’s TV show in ‘76. 

Thankfully though, there is still a whole host of bands which 
provide me with ample inspiration to keep me coming back to this 
thing we call Punk Rock. Bands which have an energy and a 
passion and a commitment toward the things we hold dear. Bands 
which can still raise the hair on the back of my neck; bands which 
still make my heart skip a bit when their latest product appears; 
bands which can still leave me open-mouthed and dribbling as they 
unleash their live show on unsuspecting eyes and incredulous but 
anticipatory ears. Bands which matter. Bands which care. Bands 
with dignity. 

The more astute among you will also note I haven’t answered my 
question of a few paragraphs previous. What WILL I do when Punk 
leaves me cold? Hmmm 

The last thing I do each night before going to bed is clean my teeth. 
As long as I can look myself in the eye and know that no form of 
complacency has perforated my physical and mental constitution - I 
shall be happy. That is the only criterion I have set myself. Frank 
Smith was given a similar piece of advice in ‘Salad Days’ which I 
ask you all to consider and take on the brevity of life itself: - 
“This is a night of your life - Live it accordingly ” 

I think that is an apt summary. 

In case you are wondering about those modern bands that still make 
this Punk Rock trip I've been on for twenty years worth the ride, a 
few have provided the soundtrack to this column. Try:- AVAIL, 


story which has unfolded, even right up to now is boring and bullshit. His 
hard man claims are pathetic. Endangering a fellow professionals career and 
admitting to it deserves Mr. Keane a trip to the mental home. 

For the genuinely masochistic who want to read more of this 
spiel, then the new Scanner is out now featuring chats with 
KRISTOFER PASANEN. £l+SASE/£1.50ppd gets you a 
copy from:- 6 Chatsworth Drive, Rushmere Park, Ipswich, 
Suffolk, IP4 5XA, UK. <> 

Take care my friends 
Steve Scanner 

What do you 
Grey won’t 

Zincs. s '8 nanew 

Okay, first up this is a plea for contract? 

more zines here in Ireland. We 
need them badly. We need them 
now. The next tale I’ll tell you 
isn’t designed to discourage you 
from zinemaking, quite the 
opposite infact, its here to 
encourage you. Its here to tell you 
to fly the flag into the face of 
rejection. The tale goes like this. . . Since the costs of copying this zine 
have risen immensely I decided to see if any labels would be 
interested in paying for adverts which would help me out. So I typed 
up this lovely spiel all about the zine, what it has done and what I 
hope to do with it, gathered together lots of email addresses and hit 
send. This is where some disillusionment crept in. The emails were 
slow to come back in, but eventually I had about 10 takers (I had sent 
the email to at least 50 different labels !).The ad rates were cheap and 
the print run was going up but still hardly anyone wanted to take the 
chance and support the zine. Now without blowing my own trumpet 
or anything I think that of all the zines on the go in Ireland, UFC is 
probably the most diverse. This of course is down to the contributors, 
for which I am thankful. So with the diversity of the zine in mind it 
really annoyed me the labels wouldn’t cough up the paltry fee to gain 
some exposure for their label and ultimately their bands. Am I pissing 
in the wind? Yes and No. The more you bother them, the more they 
know you exist. But, seriously would anyone be really bothered if 
UFC folded tomorrow? Fuck yes, I would be. And that’s enough for 
me. Fuck, I would be pissed off if Boz finished Nosebleed. I’d be 
pissed off if Fracture folded. I’d be pissed off if Reason To Believe 
finished up despite being in its early stages. I’m surprised there aren’t 
many regular zines in Ireland. There should be more zines, copying 
costs aside, laziness is the biggest factor. That’s a fact. Wouldn’t it be 
great to be able to buy zines on a regular basis at gigs here in Ireland? 
And more diverse ones at that. Fuck even newsletters would do. 
C’mon get off your arses kids. THE TIME HAS COME!!!! An Irish 
version of Fracture (not as many copies of course and not as flash 
either) is a pipedream I have. CAN WE MAKE IT REALITY? 

The World Cup. 

Congratulation to Ireland on winning the World Cup. Okay so we 
didn’t win it, but we could have. I can honestly say I have never felt 
so much emotion in my life. Personally I would also like to thank the 
buck teeth wonder that is Ronaldo, whose top scorer finish earned me 
a nice little 75 euro from a 5 euro bet. Suffice to say, I’ll be posting 
Ronaldo the original 5 euro to get his haircut finished off. And 
speaking of haircuts, that cunt Beckham has even more to answer for 
this time. Not content with being a constant dickhead anyway, his 
stupid mullet come Mohawk hairdo has inspired every dickhead poser 
in Ireland to don a replica hairdo and Toni and Guy and the like to 
bring the mullet back in. Now lets face it, mullets are ridiculous... I 
can’t help but laugh every time I pass one and usually give it a score 
from 1 to 10, with 10 being King Mullet! Lastly on the World Cup: 
Roy Keane. I thought he was a gowl for walking out. He’s a spoilt 
bully. I was delighted the rest of the lads did so well without him. And 
no we wouldn’t have won it with him in the team either. The whole 

Now follows a much rushed report on the Noisefest 2002. 

Night 1 at the High Stool, Limerick. 

Arriving just after 7 the place is eerily quite. 4 euro gets me in. 4 euro? Is that 
all? Have Shelter cancelled? Nope 4 euro it is, thanks to the High Stool 
coughing up some dough. Nice one. We’ve about a 20 minute wait before the 
Fest kicks off. Corks twin vocal beat pop industrial duo Queen Kong have the 
task of opening the 2 days. Two freaks making freakish noises and trying some 
vocals too. Armed with a backing soundtrack they proceed to sound like NIN, 
Mike Patton and that obscure noise shit that Skippy listens too. They even don 
freaky masks at one stage, while one of them sports a fake six-pack stomach and 
chest. As all over the place as they were I liked them a lot. Revolutions Of A 
Sun where up next. Its Half Mast minus two members, but with a better sound, 
tighter songs, a new drummer and a new bassist - who happens to be one of 
Queen Kong. Definitely grinding noisy metalcore, I hear Converge in there. 
They sound great even if its only their second gig. More people have arrived and 
Bastard Youth have some members who look like subbuteo crust punk rockers. 
Armed with MRR as their bible and their fashion consultant they deliver a 
superbly energetic set by falling around and injected some humour into the 
place.With patches and badges on their arses and crotches, they’ll be huge in no 
time. Great set. Saibhir have the tough act in following ‘Ze Youth. They play 
rock. I mean rock. In the Metallica sense. I don’t get much from them, but by 
then the drink is flowing down rather too easily, all my friends have arrived and 
the craic is 90. Local Limerick death metallers The Swarm deliver their usual 
set. Even though I’ve seen them about ten times now I still don’t know the 
names of the songs. I’m taking a guess though at their best song being called 
“As She Screams” (?). Local high forehead fragel rockers Giveamanakick are 
next. They’re the best I’ve seen them. Tighter than before and carrying a vast 
arsenal of tunes. Around here things took a fuckin turn for the worse when some 
pisshead puked on my hoodie. Hot steaming fresh puke too. The cunts so blind 
drunk he barely notices. The Dangerfields arrive late but it doesn’t matter to 
them. 1, 2, 3, Go!, 1,2, 3, its all over. Despite being relegated to a 3 piece they 
bring the house down. Shelter take to the stage after Ray Cappo has finished 
playing “Who Wants to be a Millionaire” with some local glue bags and gowls. 
Word has it Ray didn’t throw one euro into the machine and jumped in uninvited 
to the lads game. Word also had it that while he played the game intensely, he 
failed miserably at a good few questions. On stage Shelter rules and provoked 
the best reaction to a crowd I’ve ever seen in the High Stool with crowdsurfing 
and even bar diving barmen. Deadly stuff. The rolled out the hits. 

* An all ages Noisefest happened during the afternoon of the second day. Work 
from 9 - 6.30 prevented me attending but by all accounts it went down very well 
with the kids. 

Night 2 at the High Stool, Limerick. 

Cub Scout Disco were finishing up as I arrived around 7.30. They sounded 
kinda noisy hardcore rock. I wish I had seen more of them so I could give a 
better account.The Poke played and were great. Ten legs, twin guitars, 3 lots of 
vocals and a mixed bag of underground styles. Punk, metal, noise, hardcore, 
grind... you name it, they got it covered. Even the ska bit doesn’t seem out of 
place. Thankfully Mickey has replaced his rotten Roscommon GAA jersey with 
a Rep. Of Ireland football one.Collapse-In , featuring Vince and Sean ex-Ten 
Point Rule played next. Far more mature and inventive than Ten Point Rule ever 
were and better too. Great guitar harmonics and good mix of vocal styles. 
Angular post rockers Weevil arrived and did they thing. They too were better 
than their last Limerick appearance. Some guy - a last minute addition to the bill 
replaces Easpa Measa. He plays Muse style rock and while competent he bore 
the shit out of me. The much talked about and championed Large Mound 
played and were alright. They were supposed to finish the Fest but had to leave 
early. I recognised the first song but the others didn’t do much for me. Next it 
was the turn of some Limerick locals to sport their wares: The Kyboshi who 
were like a baby version of Tooth, were brilliant Helmet style stuff especially 
the drummer. The vocals could be better but they are young. Kamiko brought 
their pop influenced guitar rock to the stage complete with music stand. They 
were much better then I had predicted them to be. Atrophy delivered the stoner 
rock. Still very much in their early stages this band just might deliver a very 
good recording going by the strength of their songs. 22 headlined and were their 
humorous and brilliant selves. Yet again another great stage show and funny 

* Friday night gets the nod mainly due to the fact I’ve waited years to see 
Shelter, but also due to the performances of Revolutions Of A Sun and Bastard 
Youth. 22 join them as top bands of the fest. The AMC deserve a pat on the back 
for this one. 

I’m tired and emotional. Goodnight. I had so much more to say but nowhere to 
put it. 

Right fuckers, here's the deal: 3 essential new 
bands, 5 questions apiece, one completely ridiculous 
round up of some of the finest in upcoming new 
hardcore... welcome to...The GRIMES FILES ! ! ! 

Jamie: Who's in the band? 

Brad : Zack- Guitar, Brad- vox 
Bass . 

Drums, Ole 

Jamie: When and how did you form? 

Brad : We formed about a year and a half ago. We are 
about the only people in our town into fast hardcore, 
so it was natural for us to start a band that nobody 
else would like. We have had several bass players 
but Ole has been with us for quite a while now. Other 

than a brief stint of 
being a three piece 
when Zack went to 
college, we have 
remained static since 
he dropped out. 

Jamie: Describe your 
band in 10 words or 

Brad : Youth crew 
power violence, a 
combination of all 
cliches . 

Jamie: Who's in the band? 

Ian: Ken - Vocals, Eoin - Vocals/Guitars, Karen 
Guitars, Ian - Bass, Steve - Drums /Alcohol . 

Jamie: When and how did you form? 

Ian: Formed spontaneously in January 2002 in an 
attempt to make noise. Jamie: Describe your band in 10 
words or less? 

Ian: Fast, screamy, thrashy crust. 


Brad : A split seven inch with The Attack form 
Vancouver, Canada will be out soon on Auto Fact 
Records. We released a demo long ago but it is out of 
print. We can still copy it for people but we don't 
have special tapes and what not readily available. 

Jamie: Any releases available and are there any more 
planned for the future? 

Ian: There is a stupid demo available. Its pretty 
crap but there will be a split 7” with xKnifedx out 
in October that will come out on the cover of Direct 
Hit zine. Also a few tracks on a compilation being 
together by Kelly (ex-Detestation) . 

Jamie: How can people contact you? 

Brad : You can contact us to play shows or if you 
need shows around Bellingham, WA or to trade tapes or 
just talk about whatever 

Brad, 1616 Lincoln st, Bellingham, WA 9822, USA. 

Email : xbhamwol f packxGhotmail . com 

Jamie: How can people contact you? 

Ian: At crustpunk@hotmail . com or ya can write to: 
Moore, Ballymorris, Fenor, Co. Waterford, Rep. Of 

Army of Flying Robots 

Jamie: Who's in CTS? 

Paul : Cut The Shit is Andrew-vocals, Paul-guitar, 
Erick-bass, Tom-drums ... .every one but Erick played 
in some other band at some point in time. 

Jamie: Who's in the band? 

AOFR: andy - guitar, chris - vocals, henry - vocals 
lewk - drums, simon - guitar, stu - bass. 

Jamie: When and how did the band start? 

Paul : We started in early march of 2002 when I 

moved from New Jersey to Boston for school. This band 
is and always will be about friendship and boredom. 

Jamie: When and how did you form? 

AOFR: urn, we just decided to start a band, really. 
Something like two years ago. nothing exciting or 
even particularly interesting. 

one drummer and a handful of bass players later and 
we're still here. 

Jamie: Describe what you sound like in under 10 

Paul : "deserate, aggressive hardcore that goes for 

the throat" - Rob Coons, Maximum Rock N Roll #232. 

Jamie: Describe AOFR in ten words or less? 

AOFR: fast, noisy, idiots, (do i get a prize for 
using only three words?) 

Jamie: What (if any) releases 
do you have out currently and 
are you planning more in the 
near future? 

Paul : Right now we just have a demo... there will be 

a 7" out by the end of September on Gloom Records. 
Also, we are planning an East Coast U.S tour with The 
Prowl in January of 2003, and maybe a split 7" with 
them as well. Also in the summer of 2003 we'll have 
an lp out and we'll hit a full U.S tour.... 

Jamie: Any releases available or on the horizon? 
AOFR: urn, the much-rumoured demo recording this 
weekend isn't happening 

(surprisingly enough) so that's probably going to be 
late September now. 

there's talk of a split 7" with camaro crotch 
(http: //camarocrotch. but i don't know. 

Jamie: How can people contact you? 

AOFR: Cleverly, I don't have everyone elses addresses 

with me, but mine (henry) and chris' isl Seymour 

Court Raleigh St., Radford Nottingham 

ng7 4dg, uk.andy - morcellogyahoo . com chris - 

iwearblack69@hotmail . com 

henry - qreatbigmonkey@hotmail . com lewk - 

simon - forensicprod@hotmail .com stu - 
kinq69@lycos . com 

Jamie: How can people contact you? 


write us at the following address: XXX Cut The Shit 
XXX, Po Box 41, Allston, MA 02134 U.S. A. 

VR175 - CO ONLY 





Steady As She Goes 


Suicide Notes And 
Butterfly Kisses 


Three Humid Nights In The 
Cypress Trees 



LEAN BEAT debut six song ep cd / 12 " vinyl - eur 10 ppd in Europe 
EUROPEAN TOUR OCTOBER 2002 : for tour dates and locations 























































sr* * ». 

UFC: Hello lads. ..lets get the usual shit out of the way first. ..lets get 
some info on members of 22, the history and some quirky facts on both 
individual members and the band as a whole. 

BB: Hello, have sex. 22 is thus:Martin Keary (aka Raw-2): voice and guitar, 
Benny Armstrong (aka black labrador): bass, voice, Barry Brien (aka 7=5): 
guitar. 22 cannot be divided by 3, 1 recently learned that the flicker who made 
that movie with beck set in the future ripped off my 22 name. Donna from 
that 70’s show is called sevenequalsfive in the film, I’m very angry. Anyway, 
22 is the name of our band, we’ve been around a few years, we have a cd, 
and we have just toured parts of Ireland. We play music that has been 
compared to: Big Black, Mr Bungle, Ministry and so on. I’m regarded as the 
quiet one, which isn’t true really, I mean I’m the guy doing this interview 
right now. Benny is the nudie one, and Martin is the tall skeletal one. There 
have been a couple of temporary members along the way, but essentially it’s 
just us 3 guys. There are no quirky facts, as we take ourselves very seriously. 
We all hate each other and we never talk to each other either. Bands and 
friendship don’t mix. I hate those 2 guys so much, Martin ruined my 
childhood. He really did. Why don’t 22 get groupies? I reckon we deserve 

Benny worked the audience and kept the masses entertained with his lad and 
monologues on scooter. Cork was great, we played with friends of ours Dog 
on Stilts, a new Cork band who are absolutely stunning. Unfortunately we 
blew their bass amp during our set. I hope they forget about it. Dublin was a 
nightmare, a total nightmare. None of us are all that familiar with the city, 
and the club we were supposed to play in was in the basement of another 
place, we had no idea this was the case, so we were stood in Dublin city with 
our amps and guitars, looking like assholes and getting accosted by ne’er-do- 
wells and brigands. When we did find the place, the 2 support bands told us 
they couldn’t play, as they couldn’t get a snare or any cymbals, so that was a 
bit irritating. On top of this the guy who ‘organised’ this gig, a green haired 
fuckass by the name of Cormac hadn’t bothered putting up posters or flyering 
or anything, so there was a crowd of about 8. To top this off, we were 
supposed to be staying in his place that night, which he said was fine, but he 
decided to go home before we’d even started our set, pretty much abandoning 
us. All in all it was a horrible experience. Limerick was excellent, we played 
to a packed Boatclub, support came from our good friends ‘atrophy’. Great 
show, we even had a fight break out in the mosh during ‘cliche’. It was so 
funny. People enjoy us, but I hate the crowds. They don’t care, they’re 
coldhearted bloodsuckers, who always want more, that’s why we don’t do 
encores. I hate you. 

UFC: Okay so you recently set off on an Irish tour, how did that go? 
Where did you get to play and how was the turnout and acceptance of 
the general? 

BB: We played O’Malleys in Galway, Fred Zeppelins in Cork, GZ Club in 
Dublin and The Boatclub in Limerick. We were supposed to play Belfast 
also, but decided against that. Galway was grand, support came from a lovely 
guy named Graham Stakem, unfortunately the PA overheated during our 
second song and took half an hour to fix, that was a pain in the ass, but 

UFC: Before the current cd - which we’ll talk about in a moment, came 
the 1999 release of “the abuse of art’’ homemade cassette how did that go 
down? Did it do what it was supposed to do for the band? 

BB: One day Martin stuck a blank tape up his ass, and when he crapped it 
back out there was a demo recorded on it, that’s The Abuse of Art. Martin 
pretty much did that one himself. I think Benny had just joined the band, who 
back then featured a tubby little Richie Sambora wannabe git named Donogh, 

he’s gone now, sometimes you see him playing backing guitar for that 
karaoke idiot on Cruises St. The Abuse of Art is nuts, It’s fun to listen to, but 
hey, it’s total crap and I think Martin realises that too. I would advise against 
listening to it at all costs. 

UFC: “Comrade Muzik” is the current full length, one thing that really 
struck me was that it’s a very professional sounding cd...tell us a bit 
about the recording of it, the time involved, the costs etc., 

BB: I was only joking about that ‘hate’ thing y’know. It was recorded by a 
guy named Sean Harrold (God rest his soul, and all the souls of the dearly 
departed), who used to be in Bandog. He has a great home studio. He also did 
the Tooth EP ‘That Corporate Emotion’. Being in a studio is great fun, but I 
think we made the mistake of trying everything out, and personally I reckon 
there’s one or two duds on the cd. At least next time we go into a studio we’ll 
have a better idea of what to do and what not to do. Hopefully we’ll release 
something new within the next year. The stuff we’re writing now is so much 
better than what’s on the cd, much more original, much stranger, but much 
more original, and bit a strange. Hi! Sean was pretty cool about the money, it 
was £80 a day, 12 hours. All in all it cost us around £500 (all disappeared up 
Sean’s nose no doubt) to record and around another £500 to get put on discs 
with covers and all. A pretty sweet price. 

UFC: Just as a matter of interest where did you get the cd pressed? 

outfit also seems to surface in that memory or the Guapo gig where the 
band danced onto the stage to the sound of the drum machine? 

BB: I hate watching bands who stare at their shoes when they’re playing. For 
me I thinkit’s a blurring of the performing arts in a sense, I know this sounds 
shallow but I do think that band image is quite important, and when 
performing is just as important to entertain visually as well as aurally. It 
started off as a reaction to those shoe gazing bands, nobody else in Limerick 
was putting on shows like us, so I guess we’re filling a niche. It did become 
silly after a while, people expected costumes and antics from us, so we 
stopped it all for a while and became ‘normal’, but we are back up to our 
crazy ways again, and it’s gonna get better and better, we’re seriously 
considering choreography and stuff, when we played with eX-Girl I was very 
impressed with how they all moved and swayed in unison, it was very cool. 
We also give out self penned stories and comics at our gigs too. 

UFC: Sure, Didn’t one of ye get your penis out at the noisefest in 
Limerick last year? 

BB: Benny was flying low and the old chap popped out to see what was 
going down. Once that happened, he decided to remove all clothing. It was 
funny, but since then he’s whipped it out at nearly every show we’ve played. 
Don’t know why, it seems to amuse people, so why not? I think maybe it’s 
diseased, and it wants to see the world before it withers and dies. 

BB: Dublin 

somewhere, Martin 
knows. It probably 
wasn’t in Captain 
America’s on Grafton 
St though, on account 
of they’re a restaurant. 

UFC: Theres loads 
going on in the songs 
throughout the cd, its 
very diverse, 

sometimes I’m lead to 
believe it isn’t the 
same band. ..its more 
like a compilation cd 
by about 5 or 6 

BB: Yeah well that’s a 
result of us just going 
nuts in the studio and 
trying out everything 
possible. It’s cool that 

we don’t have any particular style, but sometimes 1 do Teel that wJ 
live, we are only showing one side of the band, I mean there’s a 
on the cd that we don’t even know how to play yet, I’d like to see 
more acoustic/sitting down gigs. 

en we play 
lot of stuff 
us do some 

UFC: Nearly at the end 
now, just a few more 
questions to go. ..I have to 
ask you about these side 
project bands : Boozer, 
The Void, Punish The 
Hood, Headless and 
Dildoss... they’re all a 
pisstake right? 

BB: Boozer yeah, Dildoss 
is semi serious; the Void is 
Benny’s previous band, 
that Martin was also a 
member of for a while. 
Punish the Hood and 
Headless are the same 
group now, it’s something 
I’m doing with Bar from 
DoS, kinda Fantomas/ 
Cannibal Corpse type 

UFC: The website has 
this glorious section where you send some “fuck yous” to people. Those 
people are Tom from Fred Zeppelins, Wynette from next door, Cormac 
from Dublin, and NME. Why send fuck yous to each of them? 

UFC: Theres definitely hints of Nirvana, Big Black and maybe even 
Ministry in the noisy stuff.. ..what kind of stuff influences the quieter 
more laid back affairs? (p.s I thought “Slouch” had a Joy Division feel?) 

BB: Nirvana... euch, yeah I guess The Wait’ is quite Nirvana. I can see the 
Big Black thing definitely, with the drum machines and stuff, Ministry, well 
none of us are really into Ministry, so I’m not sure how like them we are. The 
quieter stuff is kinda influenced by Berlin era Bowie, Beck, Deus, Mr 
Bungle, Alice in Chains etc.Me and Martin once robbed bones from a grave, 
but that doesn’t justify the Ministry reference. 

UFC: You seem to play with Cork’s Dog On Stilts a lot. Is there some 
self appreciation society going on there? 

BB: Actually Tom has to come off the list, he was nice to us when we played 
last time. It’s all about balance, we thank people who have helped us, people 
who have hindered us go on the other list. Wynette is Martin’s neighbour, she 
used to complain when we’d rehearse, I hope she falls down a staircase. 
Cormac, I’ve already explained, and NME are just a bunch of self- 
sodomising tools, who think that the Strokes play good music. Also they 
didn’t like our cd. 

UFC: To round things off : If you drove a bus carrying 42 passengers 
from Limerick to Nenagh, dropped off 5 passengers in Nenagh whilst 
collecting 7 passengers, drove 50 miles to your next stop, collecting 5 
passengers and dropping off 2 passengers, before arriving in Dublin at 
11.15 am, what was the bus drivers name? 

BB: Barry Brien. And he ran over Cormac once he got to Dublin. 

BB: Very much so, they are a new band, but they’re really making a name 
for themselves in Cork, myself and the drummer, Barry English are very 
good friends, and through that both bands have become buddies. They are 
quite different to us, but I love playing with them, I think they’re one of the 
best bands around. We’re trying to get them to come to Limerick again soon, 
plus they’re doing a cd this month so hopefully they’ll be promoting that 
around the country. 

UFC: Okay, the band are known, especially down here in Limerick for 
being a bit into the whole visual aspect of the live gig. ..I’m thinking 
along the lines of the Raging Speedhorn gig where 22 adorned the stage 
with a big welcome blanket and a black bin liner and hurling helmet 

UFC: You may as well finish this interview off by telling people why they 
need to get your cd, where they can get it and how much it costs? 

BB: We sell cds at our gigs, but if you don’t feel like leaving the house, you 
can order one. Write to Martin Keary, 69 Monaleen heights, Castletroy, 
Limerick, enclose a 5 euro note and you shall receive your cd within 6-8 
weeks. Alternatively if you have access to the internet use this uniform 
resource locator to find our website, where you can order it from: PS. Cormac, if you’re reading this. Your hair is 

thirty --two frames 


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REV105 - CDep 

Think Embrace meets Avail. 


One July evening, close to curfew, a young 
girl called Joan was hurrying home. When she was 
just a few steps from her doorstep, a man called 
Reymund, who knew her family, approached her, and 
before she could protest, he took her to his home, 
where he brutally raped her until the following 
morning. Joan was eleven years old. 

Traumatised, but with the help of her 
family, she turned to the local law enforcement. She 
had to show her torn clothes, her 
bruises and her bloodied mess of limbs 
because this showed she had resisted. 

She was then required to show the 
soiled clothes and injuries again in 
order to get an indictment, and was 
then made to proclaim the crime 
publicly, in spite of the shame, 
regardless of the physical and 
emotional pain she was in. She was so 
badly injured that trips to court nearly 
killed her. 

She had to give testimony 
three times, sometimes in her native 
language but at least once in a 
language foreign to her. Because she 
was only repeating a translated 
account and was not sure what she was 
saying, doubt was cast over the 
testimony; it was not a question of 
rape or consent, but a question of the 
date on which it took place. 

The story became well- 
known, and while the people of her 
village were outraged that a child 
could have her innocence stolen from 
under her family’s nose, why was she 
out on her own, and so close to 
curfew? Had she gone to his home 
willingly? Had it even happened? 

Accusations tlew: her family had a 
vendetta against Reymund and was 
using the charge to ruin him. Before 
the truth of her account could be 
considered, the jury had to consider 
the reasons she might have been 
tempted to fabricate such a serious 

Reymund never denied the 
rape, but still was acquitted, not 
because he was found innocent but 
because Joan’s conflicting dates 
(which were a result of syntactical 
differences between the two 
languages) made a loophole large 
enough to escape punishment. He then 
sued her family for slander. 

The year was 1275, but 
before you breathe a sigh of relief that 
it is in the distant past: how far have 
we really come? Similar patterns are 
seen in modern crime and the basis for rape law 
remains underpinned by perceptions of women as 
somehow responsible for the incident. When modern 
attitudes toward women even unconsciously echo 
those from centuries ago and influence the legal 
system, can we really say that things have changed all 
that much? 

Fast forward to 2002. A school bus driver 
is convicted of molesting 10 schoolchildren but given 
only 18 months in jail because he is an upstanding 
member of the local GAA. Although he molested 
repeatedly and admitted to doing so, he was 
considered ‘unlikely to reoffend’. As a member of the 
GAA, active in his local parish, public disbelief 
outweighed the gravity of his crime. 

The court testimony of a 17-year old rape 
victim in Ayrshire includes being forced to hold up 

the underwear she was wearing during the 
attack. They ask her to hold them up and read 
what the pants say: ‘Little devil’, a 

transparent attempt by the prosecution to 
imply that she asked for it. He is convicted, 
but not before she commits suicide. In a cruel 
twist of irony, she had wanted to be a lawyer. 

A young Irish woman on holiday 
in Cyprus accuses two Irish soldiers of raping 
her. They arrest the two men, who deny their 
crime. They arrest her and interrogate her 
until she admits that she had been lying. Irish 

false accusations to cope with sexual guilt implies that rape 
is about sex when it is really about violence and control. 
Since 1990, more rape and sexual assault cases have been 
brought forward than ever before, and public awareness of 
the crimes has increased, but why, with 90 percent of cases 
going unreported, is the system still failing so many? How 
have cultural attitudes not changed enough? The myth of 
the inconstant woman is closely bound with attitudes 
toward sexual violence: that it is about sex, that it only 
happens to women and is therefore only a women’s issue, 
that women will lie just to ‘get back at’ men, and that 
women are some patently helpless group of ‘victims’. All 
of this is dangerously wrong. 

What is sexual assault? 

Sexual assault occurs if you are forced to participate in a sexual 
act without your consent. It may include rape or other types of 
sexual assault. The force involved may take the form of threats, 
coercion or physical violence. 

Sexual assault is an act of violence. It is an invasion of your 
physical and personal integrity. Research shows that the primary 
motivating factor in sexual assault is to meet non-sexual needs, 
including anger and power, not sexual gratification. The belief that 
rape is a sexual act contributes to the idea that the victim is in 
some way responsible for the assault. 

There is no social or economic profile of ‘victim’. Certain beliefs 
and attitudes about the role of the victim in incidents of sexual 
violence often attempt to deny the brutality of what actually 
happens, and hide the fact that it can happen to anyone. 

The extended and difficult process of reporting and prosecuting a 
rape is an ordeal that people would be unlikely to endure if the 
claim were false. But misunderstandings of the crime help to 
maintain misguided ideas that claims are often false. These also 
serve to contribute to a victim’s fear of reporting. 

Sexual violence can cause a crisis in a person’s life long after the 
incident. This can be set off by any number of triggers, but its 
emotional and psychological effects should be taken very 

The crimes covered under the heading ‘sexual violence’ are: 

Rape : Defined as ‘Unlawful sexual intercourse with a woman who 
at the time of intercourse does not consent to it,’ where the man 
'knows that she does not consent... or he is reckless as to 
whether she does or does not consent to it.’ Maximum penalty is 
life imprisonment. 

Rape under Section 4: Defined as 'penetration (however slight) of 
the anus or mouth by the penis, or penetration (however slight) of 
the vagina by objects held or manipulated by another person.’ 
Maximum penalty is life imprisonment. 

Aggravated Sexual assault: Defined as a sexual attack that 
involves serious violence or causes grave injury, humiliation or 
degradation of the victim. Maximum penalty is life imprisonment. 

Sexual assault: A sexual act with a less serious level of violence, 
with a maximum penalty of five years. 

Times columnist Kevin Myers believes the 
good soldiers: ‘She was very properly 
arrested and very properly - if briefly - 
imprisoned.’ In the law of many countries, 
including Greece, a woman who fails to prove 
she has been raped faces imprisonment for 
making a false accusation. Who wouldn't 
retract the charge just to go home? 

According to the SAVI (Sexual 
Abuse and Violence in Ireland) Report 
released by the Dublin Rape Crisis Centre 
and the Royal College of Surgeons in Ireland 
last year, 40% of respondents (3,118 total 
respondents, chosen randomly from the Irish 
population) felt that ‘accusations of rape are 
often false’. For such a large proportion of the 
population to believe that women might make 


Attorney General Michael 
McDowell, author of the 2002 abortion 
referendum, told RTE in 2000 that the clause 
allowing for abortion in cases of rape and 
incest should be removed because it ‘might 
lead to a series of false accusations of rape.’ 
He views it as cut-and-dried crime and 
encourages an idea that laws relating to 
women’s bodies be centred on what women 
are and are not allowed to do to them or say 
what has happened to them. He went on to 
say that ‘it might be thought there would be a 
temptation to characterise sexual intercourse 
giving rise to pregnancy as non-consensual 
with a view to availing of that right.’ 
McDowell encourages ideas that women are 
prone to ‘temptation’, outlines some warped 
threat that we might consider ourselves lucky 
to have some Tight to be raped’ and implies 
that rape is only about sex, when it is not. 

Rape is violence, a way of 
appropriating the bodily control of the 
victim, who is left feeling helpless, violated, 
and ashamed. Its criminality extends back as 
far as written history goes. It is considered 
wrong in all societies, though they don't all 
define it in the same way. Modern western 
societies seem to have trouble with the fact 
that the definition and societal perception of 
the crime need to be re-evaluated. 

This has begun to happen, with 
the first conviction of marital rape recently 
obtained in Ireland (though it was recognised 
in 1991), but why is it so difficult for people 
to accept that it is real, that it is not, as Kevin 
Myers recently wrote ‘the weapon of choice’ 
of feminists (though he also, last year, 
frighteningly compared ‘feminist dogma’ to 
the Taliban)? The 1987 Report of the Law 
Reform Commission rightly suggests that the 
idea of ‘sexual consent’ cannot be rolled 
back to the original marriage vows and 
recommends that marital rape be considered 
real. But it validates, by mere mention, ideas 
that women will use the charge of rape as a 
weapon against their husbands: ‘If a vengeful 
wife considers that she will make a better 
witness than her husband, it is apprehended 
by some that she may possibly take proceedings against 
him.’ In other words, although they accepted the need to 
redefine rape, they toss in a special warning to ‘look out for 
the smart ones.’ 

The commission does not outline reasons why 
we should consider marital rape as real and instead focuses 
on particular arguments that might result in women 
exploiting this ‘right to be raped’. The protection of the 
accused is still privileged over that of the victim because of 
the way the legal system works. But why is it that the 
updating of rape laws is still seen as prone to the dangerous 
influence of some special interest group that in actuality is 
over fifty percent of the population? It is important to 
discuss the perception of women because it is what still 
underpins the law that applies to all victims, but a gender- 
neutral wording of law does not go far enough when the 

words involved. 


The understanding of a medieval rape was 
underpinned by ideas about the ‘nature’ of women as 
evil, especially dangerous once they were no longer 
virgins because once a woman had sex she was 
considered to want it always. A charge of rape meant 
that a woman did not just have to prove that she had 
not been penetrated but that, for some reason that 
defied her very nature as descendent of ‘Grandmother 
Eve’, she had not wanted it. She had to display her 
injuries and torn clothes to show she fought to 
preserve her moral purity. 

Men are still believed to have urges that 
cannot be controlled but women are unruly 
temptresses who are to blame for men’s inability to 
control themselves. John Berger, commenting on 
symbolism in Renaissance art, where a naked woman 
is shown holding a mirror, says, ‘The mirror was often 
used as a symbol of the vanity of woman. The 
moralising, however, was mostly hypocritical. You 
painted a naked woman because you enjoyed looking 
at her, you put a mirror in her hand and you called the 
painting Vanity , thus morally 
condemning the woman whose 
nakedness you had depicted for your 
own pleasure.’ These gender 
assumptions, both about women as 
well as about men, are dangerous and 
contribute to modern 

misunderstandings about sex and 
sexual violence. They reach far back 
into history, but they have nothing to 
do with some way that women or men 
‘are’ naturally. They are cultural, and 
their pervasiveness in legal, social, 
political, and cultural institutions 
helps no one. 

Why are rape victims still 
viewed with the same suspicion as that 
encouraged by the medieval (and early 
modem, and, sadly, still current) belief 
that women are not only unable to 
control themselves, but that, when left 
to make our own decisions we will 
always make the one which is 
‘wrong’? Thirteenth-century priests in 
France encouraged the rape of women 
as punishment for stepping out of their 
place. Not only were women 
considered incapable of making their 
own decisions, violent acts against 
them were encouraged; rape was 
acknowledged to be an act of control 
even then. 

In England, rape, until 
1285, was considered a trespass. Only 
the rape of a virgin was considered a 
felony: virginity had property value 
and virgins, along with widows and 
nuns, were considered the property of 
God. Violating one of them was a 
crime against both the earthly and 
divine protectors. Rape was seen as a 
crime in itself, but its definition, 
perception and penalty were (and still 
are) so closely interlinked with the 
way women are seen in general that 
while it was a crime against the 
woman’s body, that body belonged to 
someone else: her husband or father, 
and today, the State (where a rape 
victim is legally only a witness to their 
own body). However, while a 
woman’s legal status was one of 
property value, this is not necessarily 
how they saw themselves. To assume that laws reflect 
how everyone thought or felt is to buy into their myths 
of ‘justice’ and ‘truth’. 

But we can’t assume that just because 
perceptions of rape seem to focus on women, only 
men misunderstand it. In 1998 TD Liz McManus 
sponsored a bill that would reintroduce a provision to 


sexual experience as evidence for the 
accused, despite that provision being removed 
as part of the 1990 law. The bill is still listed 
as ‘lapsed’ but indicates that even some 
women buy into the view of other women as 
potential liars, that women who have a less 
than virtuous sexual history somehow 
contribute to their own victimisation. Mary 
Kenny, formerly an activist for women’s 
rights, questioned the British Home Office’s 
statistics on rape and recently wrote in the 
Independent on Sunday about the danger of 
widening its definition, suggesting that the 
only ‘real’ rape is stranger rape. Plenty of 
men, and not just John Berger, have 
commented on the perpetuation of 
contradictory and negative images of women. 
Women are not some cohesive group of 
‘allies’ and men are not all ‘enemy’. There is 
no enemy, just a huge, deep-rooted problem 
that cannot be dealt with simply or in 
isolation from other societal factors. 

Our society and our social 
relationships are very different from those of 

the past, but in many ways, we reproduce the 
same understandings and are still 
underpinned by similar ideas about the world 
and each other. Though the perceptions of 
women may encourage one view in medieval 
(and earlier) laws and documents, one need 
look no further than modern legislation to 

realise thatwecanno^en^^u^lctur^oTTo^T^mer 

saw themselves entirely from these documents. And just 
because some women saw themselves differently doesn’t 
mean that some did not buy into the images constructed for 
them; many still do. 


If a medieval woman conceived by rape, a case 
was automatically dropped: it was believed that a woman 
could not conceive a child unless she consented to 
intercourse. Pregnancy, of course, was considered a 

blessing, and so negated the criminality of the act: how 

could such a blessing be bestowed upon a crime? This is 

too bad for the Irish Attorney General, whose job would be 
much easier if this belief were still as common as it once 
was. And so consider the recent abortion referendum in this 
light: many people on the ‘Yes’ side argued that a 

pregnancy could be considered a positive outcome from a 
negative experience, but never considered whether the 
woman actually wanted to be pregnant, let alone whether 
she wanted to be raped. Removal of the power of agency 
over one’s own body is directly related to both of these 
issues, and are still consciously bound in society, from 
casual utterance to legislation. However one feels about 
abortion, the referendum enshrined a dangerous connection 
between women’s bodies and our 
inferior abilities to make ‘rational’ 
decisions about them. 

Not only was rape not seen 
as a violation of a woman’s right to 
decide the fate of her own body, but it 
was seen as something a woman might 
use as a weapon, and is still seen that 
way by many people, both women and 
men. If the changing status of women 
since the 13 lh century is more than 
superficial, why are we still under 
suspicion? Why is it that laws still 
account for an understanding that any 
rights afforded to women will be used 
against men at any opportunity? These 
notions of women as ‘hysterical’ are 
older than the 13 th century, but they 
have nothing to do with any 
biologically-based emotional instability 
or moral decrepitude. Why is it that in 
the media, women are still seen as 
responsible for all sexual guilt that 
makes rape still a matter of sex and 
makes it only a women’s issue? 

The 1987 Law Reform 
report that informed the 1990 Rape 
Law (which was a huge step forward, 
however late in coming), recognises 
that some juries ‘might regard the 
victim as having contributed to her 
plight.’ They acknowledge that it is not 
right for juries to do so, but by its 
introduction, endorse it as a valid 
objection, and don’t address why 
people’s misunderstandings of rape 
impede legal proceedings. Eighty-five 
percent of the respondents to the SAVI 
survey believed that ‘the victim is 
usually innocent’. This leaves 15% who 
do not, and when translated to jury-as- 
representative-of-society, at least two 
jurors on a rape case whose doubts 
about the ‘innocence’ of the victim 
means that both accuser and accused 
are on trial. While the misconception is 
not promoted, is treated as if it is a 
legitimate view rather than a perilous 
idea founded in misunderstanding 
rather than in reality. Figure in the four 
in ten who believe that a victim would 
go through the arduous legal process 
just to make a false claim, and it 
becomes clear that while individuals within the legal 
professon and involved with policy reform are amenable to 
change, these changes have little meaning in a society that 
doesn't understand the crime to begin with. 

The report also recommended that rape not be 
considered different from any other crime, despite the 
staggering reality that is indeed a special case. It still 


If you are out, be sure that no one leaves a drink unattended or 
accepts one from a stranger unless they see it being poured. The 
incidence of drug-assisted rape is low, but is certainly a danger. New 
'rape' drugs are more powerful than rohypnol (or ‘roofies’), which is 
now made with a colourant. The new drugs erase memory completely 
within four hours of being administered. 

The most common drug assisted rape is alcohol itself. Don’t let friends 
leave with strangers if they appear to be too drunk. Don’t let them go 
home alone, even if they insist they are okay. An assault on a drunk 
person includes their increased vulnerability, but it still does not make it 
their fault. Those who have been attacked while drunk will blame 
themselves even more than other victims do. 

One of the problems with sexual violence is that it not only makes the 
victim feel helpless and ashamed, it also leaves friends and family 
wondering what they could have done to stop it from happening. 

You can’t undo it, and you can’t make them forget about it, but you can 

Encourage the person to seek counselling and encourage him or her to 
report the crime, but respect their decision if they choose not to do so. 

Be willing to listen. Don’t encourage them to 'try to get your mind off it’ 
if he or she wants to talk about it. Make sure he or she knows that you 
won’t tell anyone else unless he or she wants you to. 

Reassure him or her that it was not his or her fault. 

If they do choose to report, the legal process can be incredibly drawn- 
out and painful. Victims are allowed to have a relative or friend (as well 
as a member of the Rape Crisis Centre, if they wish) in the courtroom 
with them. If you are going to be that person, be sure you understand 
the process as clearly as possible so that you can be the most help. 

It may take its toll on you, too. Don’t be afraid to seek help as well - it 
may even help the victim get better. You, too, can call the crisis hotline, 
which will connect you with one of the 18 Rape Crisis Centres in 

If you want to help with raising awareness about rape and sexual 
assault, the Rape Crisis Centre is always looking for volunteers for 
fundraising and other jobs. Benefit gigs and other contributions are 
always greatly appreciated. 

If you wish to be a phone counsellor, this requires a two-year 
commitment and intensive training. It will be a very difficult job, but 
strong, dedicated, sympathetic volunteers are invaluable to the centre. 

limited the definition of assault and rape to that which 
included genital contact, when it should be recognised 
that any body part can be sexualised. The 
commissioners wished to ‘emphasise at the outset’ 
that despite the unacceptably low rate of report (only 
524 reported cases and 70 convictions between 1978 
and 1986), this is ‘not necessarily related to the nature 
of the legal process’, but driven by a victim’s 
embarrassment, psychological trauma and ‘fear of not 
being believed’. How can the responsibility for the 
sensitive treatment of the victim be directed away 
from the legal system whose processes so often deter 

The legal system is set up to protect the 
accused, and this is beneficial in most criminal cases, 
but is of great concern because of the effect this can 
have on victims who already blame themselves. 
Muireann O’Briain of the Dublin Rape Crisis Centre 
says that this refusal to acknowledge the crimes as 
special cases is very difficult to deal with. ‘The rape 
victim doesn’t realise that they are only a witness. 
Their testimony can be scrutinised because of the 
nature of the legal system. They don’t expect that.’ 

The broadening of the definitions of rape 
since the 1990 law, especially the recognition of both 

male rape and marital rape and 

the increased rates of disclosure 
and prosecutions are important 
to acknowledge, but the trauma, 
the delays in the courts and the 
lack of empathy among judges 
are some of the major obstacles 
that remain in place. O’Briain 
says that although people are 
much more likely than ever 
before to come forward, 
especially crisis clients (those 
who have been attacked within 
the past year), the shame and the 
intense self-blame victims feel 
are still major deterrents. 

The Report of the 
Working Party on the Legal and 
Judicial Processes for Victims of 
Sexual Violence released in 
1996 by the National Women’s 
Council for Ireland recognises 
that progress has been made 
since the 1980s but comments on 
many of the problems that still 
beg response. It includes a 
strong critique of the ways 
victims are failed by the legal 
system, the piecemeal way that 
sexual violence has been dealt 
with in the past and 
acknowledges that the roots of 
the laws regarding women relate 
to a time when women were still 
considered property (as recently 
as 19th century law) and had no 
personal rights. Though the 
report is centred on the treatment 
of women and children and 
therefore does not address the 
problems faced by adult males, it 
advocates many progressive and 
important changes. Why is this 
not reflected in the current 
system? While certain 
individuals and groups may do 
everything in their power to 
improve the situation, the 
problems are deep-rooted, they 
involve many people, some of 
whom may not share the 
progressive views of the 
Women’s Council, and the laws 
themselves direct proceedings along a path that does 
not help victims. 


Statistics from the Dublin Rape Crisis 
Centre in 2001 showed that of 538 counselling clients, 
only 167 cases were reported to the Gardai. The RCC 

dealt with 9,982 counselling calls last year, 
more than 27 per day. That only a fraction of 
those who call the centre actually pursue 
counselling means that the statistics available 
are the tip of the iceberg. Women’s Aid, who 
deal with domestic abuse, received over 
10,000 calls in 1995, and a national survey 
found that 38% of women surveyed had 
experienced some form of domestic abuse in 
relationships. Reporting has risen 
exponentially since the 1980s, but the extent 
of the problem cannot be known, and the 
problem of domestic abuse against men must 
also be addressed. 

The SAVI statistics showed that 
42% of women and 28% of men experienced 
‘some form of sexual abuse or assault in their 
lifetime’. This amounts to a reflection of 
about 35% of the population. Account for the 
perpetrators, and it emerges that at least half 
of the country, and not just women, are 
directly affected by sexual abuse and assault. 
More frightening still, 600 of those surveyed 
had never disclosed their abuse to anyone but 
the surveyor. 


Self-blame is almost a standard after-effect, but know that almost all 
victims blame themselves and that it is not your fault. 

You are not alone. Statistics show that almost 35% of the population in 
Ireland have been victims of sexual violence. Just because you don’t hear 
about it doesn’t mean that it doesn’t happen, but its frequency does not 
mean your case is not to be considered serious. It is common, but is 
neither normal nor acceptable. 

Even if the incident is long in the past, if it affects you, you should talk to 
someone about it. 

tried, and 15 obtained convictions. Ten of these cases 
related to child sexual abuse: only 15 of 538 clients 
obtained a conviction, and only five of these were for 

A compilation of twenty court logs for the years 
1202-1276 found that only 142 cases of rape were reported. 
Of these 142 cases, 56% were dropped after the initial 
appeal, and only 23 of the accused men were actually 
brought to trial. Only three were convicted, but two, being 
clergy, were handed over to the ecclesiastical courts where 
their punishment was penance; the remaining guilty party 
was fined just over one pound. This is despite the fact that 
the official penalty for rape was castration, blinding or 
hanging; most male juries felt that was too harsh a 
punishment. The same appears true today, with few sex 
criminals being given the full sentence of life 

It would be irresponsible to compare the 
statistics directly because of the extreme difference in 
historical dates, definitions of rape, and in methods of data 
compilation, but the archaic perception of woman as unruly 
and sexually promiscuous still underpin the laws that relate 
to women and talk about us as if we aren’t included in 
decision-making. When Michael McDowell discusses rape, 
he speaks of concessions ‘allowing’ us occasional 
permission to think for ourselves. The 
problems of the language of law and 
society undermine the importance of 
recognising rape as not just a woman’s 
problem. The severity of the 'official' 
sentence is almost insulting to victims 
when almost no one ever receives it. The 
perceptions of rape help to encourage 
damaging — and supposedly obsolete — 
images of women, but the gendering of 
‘victim’ itself is equally unnerving. 

If the attack is recent, you should go to the hospital so that material 
evidence can be collected. It should also be recognised that because not 
all attacks involve physical injury or fluids, this does not mean you will not 
be taken seriously. Failure to prove physical struggle (e.g. bruises) does 
not ‘prove’ consent. If someone threatened you and you stopped struggling 
to prevent further injury, this is NOT considered consent! 

If you choose to report the incident to the Gardai (hospital staff will not 
force you to report, though they may encourage it), you will be asked for a 
detailed statement. This may be traumatic, but counsellors and trained 
professionals will help you through it. Most of those who work with victims 
of sexual violence will encourage you to report, but if you choose not to, 
they will respect your decision. You may be more emotionally equipped to 
report after you have begun to get help, and no one will withhold help from 
you if you choose not to pursue a criminal case. 

The legal process can be long and painful. The victim is considered a 
witness for the prosecution, who is defined as The State, and so, as a 
witness, you will be cross-examined by the defence. Prepare yourself for 
this, and ask that you be given a detailed description of every step of the 
process. The Rape Crisis Centre can give you information on both the 
medical and legal processes involved and Victim Support is an integral part 
of the legal process in these cases. 

The defence is not allowed (since 1990) to introduce your past sexual 
history as evidence, unless its omission would result in a false conviction. 
This can be exploited by the defence, but it can only be introduced by a 
special application to the judge. Even if it is introduced, be sure to 
remember that even if you have slept with 1 00 people and said ‘no’ this 
one time, it does not mean you asked for it! Cultural attitudes contribute to 
the belief that those who have many partners make themselves too 
available to complain, but, to be frank, this is a load of bull and we don’t 
need attitudes like that. 

The nature of the legal system, set up to protect the accused, means that 
criminals are often released on technicalities. No one will stop helping you 
just because some jury said that there wasn’t enough evidence to convict 

The survey showed that only 10% 
of women and 6% of men who had been 
sexually assaulted or raped actually reported 
the crime to the police. Among therapy 
clients, reportage was 31% and was much 
more likely when the client had been raped by 
a stranger. Of these 167, only 17 cases were 


Victims of male rape 
comprise 12% of the clients seen by the 
RCC. Although male rape was officially 
recognised in 1990 (having been 
previously covered under an 1861 
‘buggery’ law ) most discussions of rape 
are centred on the rape of women only. It 
is still connected with the idea that a 
hypothetical rape victim is actually 
gendered, that male rape is still an 
exception, which will further prevent its 
victims from reporting it. It strips them 
of their maleness by forcibly fitting them 
into a gendered role, thus confirming 
their own fears of their autonomy and 
masculinity being compromised by the 
crime. Though the overwhelming 
majority of victims are women, it 
happens to men, and not just gay men, 
and is not just carried out by men 
(especially in the case of children), and 
has nothing to do with being gay. Why 
do male victims risk being socially 
neutered upon disclosure? 

The SAVI survey found that 
41% of men and 27% of women believed 
that ‘men who sexually assault other 
men must be gay’. In a society that is 
afraid of homosexuality and connects it 
in this way to assault, reportage of male 
rape will always be low. This perception 
presumes two things: that being gay is 
wrong, and that the attacker (and perhaps 
victim) must be gay because rape must 
be about sex. The still-prevalent attitude 
toward homosexuals as being sexual 
‘perverts’ means that the public 
perceptions of sex and violence are 
fundamentally perverted themselves. 
Rape cannot be dealt with in isolation 
because its causes, effects, and the attitudes toward it do 
not exist in isolation. 

Why, instead of engaging in debate over 
whether rape statistics have been ‘invented’ by feminists do 
we not ask why it is that people go around violating each 
other on such a regular basis and why it has never been 
okay to talk about it? And why, every time is it redefined. 

continually reproduced? The significant problem of 
child abuse has been increasingly acknowledged over 
the last few years but why, if we can accept that adults 
to horrendous things to children, do people seem to 
have such difficulty believing that they can also do 
terrible things to other adults? It is also dangerous to 
define it as a ‘woman’s issue’ because it encourages a 
view of men that all of them are potential rapists (and 
all women potential victims), which only serves to 
bolster a harmful idea of a ‘battle of the sexes’ that 
solves nothing and relies on ancient ideas of women 
as objects. It must be recognised that while women 
often try to live down or live up to gender 
assumptions, men often do the same. They must be 
empowered to choose behaviours that work against 
the idea that ‘real’ men never pass up the chance to 
have sex. It is not just up to men not to do it and 
women to restrict their movements or just say no. In 
order to get to the roots of the problem, everyone must 
understand that sexual violence is about violence: sex 
is the medium, but control is the message. 


The survey showed that 47% of men and 
34% of women believe that ‘the reason most rapists 
commit rape is overwhelming sexual desire’. Weave 
these gross misconceptions together: the gendering of 
the victim, that women can’t be trusted, that a 
woman’s body is not her own property, that 40% of 
people believed rape accusations are often false, and a 
very disturbing collective psychological picture arises. 
So the issue is less ‘how do we count the victims?’ 
and more ‘why is victimising others such a huge 
problem across society?’ 

Many people seem to be afraid of the 
broadening of the definitions of sexual violence. Men 
fear it, not necessarily because they don’t want 
women to have control but perhaps because it might 
cause them to question whether someone they have 
slept with in the past really gave her consent. Women 
as well fear that it might cause us to look back on our 
own experiences and perhaps find a relationship that, 
under the ‘old’ definition was just a bit of a mess, but 
in hindsight, now looks like something more serious. 
We must be careful to deal with this so that we are not 
assuming that men possess any more desire to rape 
than women do to be victims. And it isn’t just about 
men and women. Perhaps there is some deep 
misunderstanding of social relationships that needs to 
be addressed before we even get to the part where 
someone makes or receives a form of unwanted 

Few people would disagree that a rape by a 
stranger in a shadowy alley is a crime. These crimes 
are more frequently reported, though no one can say 
which is ‘worse’. The RCC’s statistics indicate that 
only 32% of those seeking therapy for rape were 
attacked by strangers, but, again, it should be 
considered along with the fact that higher rates of 
reportage are found among those who are attacked by 
strangers. Only 56% of those clients who reported the 
crime were satisfied with the way they were treated by 
the Gardai: why are nearly half of these people not 
being treated with the sensitivity they need? 

One in five women and one in six men 
experienced contact sexual abuse as children, with a 
further one in ten women and one in fourteen men 
experienced non-contact abuse (e.g. physical exposure 
or manipulation, being forced to look at pornography. 
In the case of adult abuse, one in five women and one 
in ten men reported contact abuse at some point in 
their adult lives. Among these victims, one quarter of 
the women and one tenth of the men had experienced 
unwanted penetrative sex. 

The rest of the figures are equally chilling, 
so why is it that, with so much of this going on every 
day, more people seem to be questioning the statistics 
themselves than asking why this problem is so 
prevalent yet so deeply hidden? The more we remain 
complacent when statistics and discussions of rape are 
used as a way of attacking feminists, the more we 
gloss over the fact that rape is not just a women’s 
issue. The perceptions of rape victims as gendered and 
the inclusion within that of suspicion of some sort of 

innate ‘hysteria’ mean that perceptions of 
women, sexual taboos, and rape, are bound up 
together with societal ideas of sexual 

The claims that women use rape as 
a ‘weapon’ remain startlingly prevalent in our 
society, and suggest that what proponents of 
this idea mean, in the most extreme sense, is 
that women are themselves responsible for 
the existence of rape. Medieval and early 
modem women were seen as a threat to moral 
purity, and needed to be protected from their 
own inability to think rationally and from 
their potentially seductive effects on men. If 
women were raped, it was a crime carried out 
by the man that, although was criminal, still 
had some fundamental relationship with the 
notion that women were the foul temptresses 
that made them do it. While this is not always 
so conscious today, Michael McDowell, 
Kevin Myers, and many others remind us that 
these same ideas are still a threat. They both 
paint a twisted picture of women queuing up 
to join some sort of ‘victims’ club’ that will 
give them ‘special treatment’. Myers even 
adds that ‘justice is no longer important; what 
is important is that in legal representations of 
sexual conflict, the woman must always be 
seen to win.’ Great, so with an overall 
conviction rate for sex crimes at about 1%, 
when do the victims start winning? 


Sexual violence is not just a 
problem caused by isolated ‘perverts’ acting 
independently. It is not just a problem in 
Ireland, but everywhere, though people like 
Kevin Myers and Mary Kenny, chose to 
criticise, not the SAVI survey but the 
statistics from the British Home Office. He 
states that the Home Office’s results show 
that there were 61,000 cases in 2000, but that 
the police report only 7,007. His explanation 
for the discrepancy is that ’40 percent of 
women did not know they had been raped 
until the Home Office told them they had 
been.’ He calls it the ‘weapon of choice’ of 
feminists. He immediately assumes that most 
of the 54,000 were encouraged by feminists 
to lie in order to ‘exaggerate the level of 
human misery in the world’ because it is part 
of some sort of feminist agenda. He also 
implies that 7000 rapes are not a problem. 
Rape and assault are the most unreported of 
crimes in most societies, so why is it that 
discussion largely focuses on the 
infinitesimally small chance that a very 
disturbed person might make a false claim? 

The solutions suggested by the 
SAVI survey place responsibility on relevant 
professionals and on development of services 
for those in need and at risk, as well as on 
public awareness campaigns. The need for 
wider research on the perceptions of the 
crime within society is highlighted as 
important, as is the recognition of sexual 
violence as societal. These are all important 
strategic plans, where specific groups are 
targeted and educated about what sexual 
violence is. Programmes for schoolchildren 
have been developed and are being used in 
schools around the country. The ‘Stay Safe’ 
programme helps children learn how to 
determine inappropriate behaviours from 
others, and ‘Exploring Masculinities’ aims to 
help shatter some of the myths of maleness 
and empower young men to make decisions 
not based on living up to a mythical ideal. 
These are positive and beneficial 
programmes, but when they involve 
discussions of sexuality, many parent groups 
who object to sex education in the schools 
might often object to them. This is dangerous: 
if people don’t know what is a problem 
behaviour, how can they prevent it? And if 


are, they will be better equipped to know what they are not. 
Young people, especially in their late teens, are entering a 
world that involves unprecedented personal decision- 
making power and need to be helped to enter that world as 
aware of themselves as possible. They engage in what they 
perceive as adult behaviours that they themselves do not 
understand and can result in sexual violence. There will 
always be very troubled and disturbed people out there who 
will commit sexual violence, but why aren't we doing more 
to try to prevent it when we can? Until we can talk 
confortably about sex as sex, we won't be able to talk about 
sex as violence. 

The problem is deeper than something that can 
be solved by arresting perpetrators and counselling victims. 
It has to do with the way we see the world, ourselves and 
each other, about personal autonomy, and is more than 
something that can be managed as a problem separate from 
other issues. To view it as only an issue for women or 
feminists leaves it open for people to interpret it as being 
about women versus men, or to doubt its existence. 
Targeting at-risk groups is vital, and though I certainly 
won’t argue against any of the awareness-raising 
campaigns, it is not the whole answer. Perhaps the increase 
in awareness and disclosure among these groups is because 
they have been targeted, and that almost any group that is 
targeted might respond in a similar way because there is no 
one ‘type’ of victim. 

Public awareness and an addressing of public 
perceptions of the crime are a vital step, but when the 
problem is so deeply-rooted, there are larger questions that 
need to be asked. Why is it that rape has always been a 
problem in society? What is it about the way we relate to 
each other that makes it so prevalent? Is it more prevalent 
today than it was in the past, or is this increased number 
due to the fact that as the social roles of individuals change, 
so must the definition of personal autonomy and the 
violation of it? Our need to associate criminality with 
someone being ‘evil’ (a correlation that many people still 
believe can be genetically or biologically proven) 
contributes to our inability to understand that it is not about 
identifying ‘evil’ but dealing with the reasons that people 
do this to others. Disbelief that ‘upstanding’ members of 
the community are doing this to others disguises it as 
something that is only done by isolated perverts who are a 
hidden 'evil'. These people are distiurbed individuals, but 
just throwing those we perceive as 'evil' into jail and 
pretending that solves the problem does not acknowledge 
that this issue needs to be addressed by helping everyone to 
deal with it if it is to be prevented. If the perpetrators 
continue to go unconvicted, the problem will continue to be 
seen, not as a failure of the legal system to treat these cases 
with the sensitivity they require, but as something that 
needs to be solved by victims and those who support them. 
Whatever the ‘trends’, as we can see from the case in 13 ,h 
century England, the problem of sexual violence is an issue 
of immediate urgency because it has always been on our 

I would like to thank Muireann O’Briain of the Dublin 
Rape Crisis for taking the time to talk with me about this 

I can be contacted at: 

- Text Box information taken from the following Dublin 
Rape Crisis Centre leaflets: ‘Rape and Sexual Assault’ 
(1998) and ‘The Trial of Rape and Sexual Assault’ (1998). 

Freephone 1800 77 88 88 
70 Lower Leeson Street 
Dublin 2 

Tel (01) 661 -0873 

WOMEN’S AID (for domestic abuse): 
Freephone: 1800 34 19 00 
47 Old Cabra Road 
Dublin 7 

Tel (01) 868 4721 


UFC: Iliya lads... hows things.. .whos answering the questions then? 

Alright Trevor, Stephen and Turlough here to answer all your questions 
about the band 

.***\*. % 

UFC: I for one know very little about KB’s history and members, 
mainly as I was away in Australia at the time you appeared on the 
scene... so come on lets have a decent account of both band history 
and band members and their story. 

Stephen: It all started about 5 years ago when I met up with Turlough and 
Eoin and started hanging around with them. We all lived really close to 
each other at this stage. We all listened to the usual music for 13-15 year 
olds like Green Day and Stone Temple Pilots and stuff. We started playing 
one string songs, “Boredom” at the end of “’82” is actually a recording of 
one of the earliest ones. We slowly got better and I got a small drum 
kit. We had a guy called lan playing bass for us but we lost him along the 
way somehow.... 

Turlough : We continued to play bass-less for a while and gradually 
realised that we’d need a new bassist. So we asked Stephens ex friend 
James Flanagan to play for us. We practiced for 
about a year with the odd gig now and then. We 
were called Playskool Mafia at this stage and 

before that we were shitly called Breakdown 

We gradually got a hang of things and began 
playing Aidan Walsh gigs in The Temple Bar 
Music Centre. It was a few months later we 
recorded four tracks for a compilation by 
Treasure Island. We had brief release offerings 
and finally decided we didn't want to go this way. 

Stephen: Turlough had gotten us all into a load of 

Fat Record style punk bands and it all moved on 

musically from there. Punk was sort of officially 

our thing then and we looked at things 

completely different, except for Eoin (Shameless * ^ 

slam at Eoin). We were playing gigs in the 

Gasworks and began to write better songs. After L 

another period of this we eventually got into the 

diy scene. At first we were really intimidated by # 

the "punk as fuck posters" and the rumours of 

people getting the shit kicked out of them by the 

Temple crowd for being to wussy, in fact we 

actually pulled out of a gig because we were too ***% 

worried about that stuff.... * f ^ m ^ 

Turlough: I was actually grand Stephens a wuss, 

we finally settled in slowly beginning to meet 

other people involved in the scene such as Ror from Puget Sound who 
gave us a lot of confidence. We played around not so regularly and a year 
or so later we've released this recording. This was all in the span of 2 
years. So we're fairly new school. 

Stephen: It was about a year ago that Luke joined the band replacing 
James on bass. It was really shit to see James going he's a really great guy 
but I think it was at the right time because he really wasn't into it as much. 
Turlough: Luke on the other hand live 20 miles away but at the same time 
is always around. 

UFC:\Vhat kind of place is Kilcoolc...and Wicklow in general - there 
always seems to be a steady flow of punk/hardcore bands coming out 
of Wickow for some reason? Theres some other bands you’re 
involved in? Namely Scared Shitless and Foot in Mouth, what can you 
tell us about those and what members are in each? 

Stephen: I moved out of Kilcoole in the Summer of 2000 to Bray and then 
a year later I moved in with my girlfriend Noreen into Dublin. I still 
know all the people that hang out in Kilcoole, but not as well as I did. I've 
always thought that Kilcoole can be really good for people and really bad 
at the same time. There's a certain element of laziness that's very 
infectious down there with a lack of motivation but with a lot of talent. 
We've tried (Me and Turlough only) to steer clear of that and concentrate 
on getting things done, be that flyers, or setting up gigs or active things 
like that Eoin! No really it is hard making the 2 hour bus journey to 
Dublin all the time, but it’s worth it. 

Turlough: I on the other hand still live at 

Stephen: Mammys boy. 

Turlough: Lie. Eoin's house which is down 
the road from me is pretty much the centre 
point (nest) of Kilcoole music. His mother is 
grease (Kilcoole slang for cool), she lets us 
practice whenever we want and even lets our 
new hardcore band Scared Shitless which 
doesn’t contain either Ed or Eoin who are 
brothers. Where it once started with Kid 
Blunt has now branched into several bands 
including No Compliance a youthful group 
who rip it up (some real potential), Foot In 
Mouth that houses three members of Kid 
Blunt, me Eoin and Luke. We play bouncing 
skank kinda like the trojan dub scene of the 
'71 dancehall scene.. not really. 

Stephen : Foot in Mouth are excellent 

although they will eventually be eliminated 
as they pose a threat... Ed is a great frontman 
and Dylan is the bassist who is fucking 
incredible. I've only seen Scared Shitless 
once but they are really powerful. Luke 
shares vocals with girl called Aoife and the 
result is amazing. When we started loads of 
little kids used to listen to us and now they 
realise it's so easy to start a band that they 
are all starting to. It feels really good to 

think we started that. 

Turlough: Yeah it's such a great thing, the 
diy scene the fact that anyone young or old 
can get actively involved. 

Stephen: As long as they're not intimidated 
which is what we always strove to do in 
Kilcoole. I'd better say a bit more about No 
Compliance as they really are a great band. 
Darragh is the singer and a guitarist, Ross - 
Turloughs brother plays guitar (better than 

Turlough: He fucking does. 

Stephen: Darren Wogger plays the bass and 
Kendo plays. ..fucking thrashes the drums 
(better than me) and they're great. 

UFC: This what are you influences 
question is a necessary evil, especially for 
people who haven’t’ heard ye and might 
be wondering what the fuck you sound 

Turlough: I suppose I started with the Fat 
records kinda stuff and gradually realised 
that there was loads of other really good 
bands that more suited my taste such as 

What Happens Next, Vitamin X, Fig.4.0 AND Capdovvn etc. 

Stephen: Since I've been working in Tower records (boo hiss corporate 
willy washers) I've been opened up to lots of other types of music like jazz 
and soul. I still haven't got into the modern -hardcore stuff but I- like 
whatever’ s on the radio. 

Turlongh: Yeah me too mostly modem hardcore at the moment, but still 
occasionally go back to my roots , ha ha. This is really difficult to actually 
conduct, this interview because Stephen's typing but I suppose your music 
taste rapidly changes in terms of bands and styles and I also find myself 
getting turned off bands very easily. 

Stephen: Based on their ethics usually. 

Turlongh: MTVally viable. It's really irritating; things can't go forward 
this way because MTV takes certain 
elements of good music and ruins them 
with this dirty new image. 

Stephen: I saw on the Fat Wreck website 
a thing saying to vote for the new Strung 
Out video on a tv show I'm not sure if it 
was MTV but I think it was, saying that 
it's better to see Strung Out on TV than 
Nickelback. That's bullshit! They don't 
even have to turn on their fucking Tvs let 
alone watch anything. That's giving kids 
the wrong idea, to accept that MTV is 
there and that all you can do is try to 
make it a bit better. Don't fucking watch 
the thing and you don't have to see 
Nickelback, go out and play music and 
do something constructive.... 

Tur lough: Yes I totally agree, this is all 
totally talked to death but it has to be 
said. Even Nofx don't get me wrong 
they're a great band but still with “The 
Decline” under their belts they still 
proceed to market the certain fat sound 
and even themselves. Still on the other 
hand they are still getting through to kids 
like we once started. Fuck it who are we 
to judge anyone? 

UFC: Would you say your influences 
are your final sound or is there a bit 
more to Kid Blunt? 

Stephen: Your always going to sound 

like other people and a genuinely original band that sounds like no 
else at the time and is really good are very rare. Bands like Minor Threat 
and Nofx totally did that and they deserve all the praise for it (that last bit 
about Minor Threat is ripped off from a conversation I had earlier on with 
Bushy from Sir Killalot.) But I still think people sometimes concentrate 
too much on being completely original to the compromise of the actual 
music. You have to play what you feel. 

Turlough: You've got to play whatever comes out and not try and define a 
certain style. Thinking back now (to 78) we totally sounded exactly like 
the bands we listened to. 

Stephen: But you need that to build on 

Turlough: So true. Well I think that our music doesn't define the certain 
bands that we all listen to because when we write a song we all put our 
separate bits together and come out with our sound I guess. We all listen 
to fairly different types of music from jazz to hardcore. I think this is 
healthy. I'm not saying that we're completely original and rocks the house 
down, but it seems to work well. 

UFC: So is “’82” your first recording? 

Turlough: No. Our first recording was left as a demo never released 
because it was crap. That was before Ian left the band. It'll probably be on 
a money raising b sides collection in 15 years. 

Stephen: When we can't get Eoin off gear and into the studio. 

Turlough: Robert Stephenson offered us to do a short recording session. 
We went to Clonsilla one morning and put down a few tracks which also 
turned out fucking crap but had a nice sound. It was released on a few 
compilations, one that we didn't know about. The beauties of contract 

UFC: How many did ye get pressed ,how has it sold, how much did it 
cost to record, who did the artwork etc., 

He took us as we were and listened to what we wanted. It went very smoothly 
apart from one or two cock ups by Eoin (shameless slam again). He spent ages 
mixing it and we were really happy with the result. He only charged us €150 for 
everything. We were unsure to get to get it mastered or not, but we went ahead 
and it was a good choice. 

Turlough: As you might be able to hear some of the songs sound slightly 
different and that's because they’re older songs mixed in with new ones. The 
thing that took the longest to get around to was the artwork and the layout. But 
we finally gathered everything together and sent it off. I was actually horrified 
when I saw the Loop the loop ice cream style back cover which was originally 
my drawing butchered by modem technology, ie., computer. Our friend Derek 
took most of the photos it's meant to sort of show what's going on in Kilcoole 

and how lazy it can be as well. I sent 
offloads to various zines like this fine 
. slice. Haw grease man. (general 

my jpprif'IPfir laughter ...on our own -oh.) 

j Stephen: Performance wise it's doing 

CpJ better than we expected so that's a 

V* 17 VJ m nice little bonus....this is getting 

I M ik I a pathetic, next question I think. 

SByllWk.k ^ W “ Turlough: oops. 

UFC: VVhats all that fucking 

around on the end of the cd 
about.. ..the “Scummers Blues” or 
some shit like that? 

Turlough: All that messin’ around is 
something we thought we'd throw in 
at the end. The first one, “Scummer's 
Blues”is Eoin Whit in the spotlight 
and the second is one of the early 
recordings which at the time was a 
very serious recording. 

Stephen: It was recorded with Ed 
playing keyboard drums, Eoin singing 
and Turlough playing a broken 
acoustic (the beast) and me not even 
in the band yet, ooh yet. 

1 I UFC: So where can the kids get the 


M Stephen: The kids can get the cd from 

us: 343 Meadowbrook Kilcoole Co 
Wicklow, Ireland or from shops 
around town, like Tower, Freebird, Mero's, Comet and Road. 

UFC: Who’s behind the Mad Dog La Belle and ? 

Stephen: We have to hurry it up a bit now as Turlough has to get a bus. 

Turlough: Ed. Ed was the founder of Mad Dog Labelle, he basically sorts out 
the website spends all the money on easy bitches and cocktails. A wheeler and 
dealer by profession he basically puts in a lot of work and has great high hopes. 
We owe him a lot.. ..about €750. Don't ask him about McDo's or women's rights 
(they shouldn’t have any he'll say), no but really if it wasn't for him I probably 
would have done law or medicine in Trinity. Ha ha. 

Stephen: Yeah when the lads were a bit younger me and Ed would sit in his 
room plotting our world domination and getting them to leave their foolish 

Turlough: Currently we’re thinking of a Kid Blunt 7", No Compliance/Kid Blunt 
split and Foot In Mouth 7". Some killer slices to come. 

UFC: What questions should I ask about your sex life? Stephen seemed a 
bit cagey about that in his email! Are the sheep nervous in Wicklow? 

Stephen: Yeah we all get it daily, f off! ! 

Turlough: We're really good at it too. Ha ha as if. We've run out of ha ha's now. 

UFC: Whats in the works for Kid Blunt? 

Stephen: We're going to keep playing around Dublin, try to get out around 
Ireland as much as possible, certainly Tang anyway or perhaps Two Mile 

Turlough: There's a possible English tour with the excellent But Me No Buts in 
Southwilkshire on Thames or something equally British. We're open to any gig 
any time, so contact me - 01 2874920, Eoin - 0877513160/ 01 2873529, e mail or . If anyone foreign reads this 
take us out of this country A.S.A.P! 

Stephen: We got 500 done of “’82” in Trend Studios and it cost us about 
€1200. We recorded it in a friend of a friends gaff named Ivan Jackman. 
He was a really nice guy and sympathetic to our lack of actual talent ie., 
he didn't expect electric guitar solos or high pitched organ backing us up. 

Great! Thanks to everyone who helps us, all the great bands we play with and 
people who put on the gigs. Thanks also to UFC and Trev. Nice one. Support 
your scene, be seen in green, don't be mean, eat the bean, eat steak lean*,howaya 
doin Dean, read a zine, END. * don't. 


like they are on the 
album and another one 
in anew way where I 
tried some new stuff 
and sent it into 
them. Ben gave me a 
call and asked me to 
come up for an 
audition. I went up 
and we played 4 or 5 
songs off 

Infinity" . I learned 
a few more songs and 
went up again and 
after that they asked 
me if I'd like to 
join the band. We 
played our first show 
2 weeks later. 

UFC: Welcome to Ireland.. 

Greg: Thanks man. Its good to be here. 

UFC: First time as a band, first time as individuals? 
Greg: Definitely. None of us have ever been here 

before. It's awesome. We've been to a lot of towns 
where there's been nothing to do and we just sit on 
the bus for hours. But as soon as we got here wee 
went out and we were like wow, there seems to be so 
much to do. It's cool. We've been walking around and 
seeing what's going on. 

UFC: Okay so Greg you've been in the band a while 

now... .but to most you're still the new guy so I guess 
if you gave us some of your history that would be 

Greg: Right, right. I've been in the band for about a 
year now. I've always been into music. I started off 
playing guitar when I was a little kid. After hearing 
people like Mike Patton and HR from Bad Brains, I was 
like man I 
or 13 I 

local stuff - Baltimore in Maryland - got an 

tons of my own stuff just 
and waiting for the right 
. I was a huge fan of 
when that came up I had to 

to sing. When I was around 12 
singing more and did some 

8 track and did 
trying to get 
opportunity to 
Dillinger Escape 
go for after it. 

UFC: I know 
of "43% 
take it away 
order to help 
put yourself 
come you ended 
Greg: When I 
download that 
actually only 
after Dimitri/] and 
was too late. 

Anyway, I went to my friends' studio 
versions of "43% Burnt" - one wi 

an instrumental version 
hoping for people^ to 
they pleased to it in 
new vocalist. How did you 
vocalists job and how 

Ben he told me to 
, so I did. I 
half months 
afraid I 

two ' 

UFC: So is this 

Dillinger... the second 

coming as such? 

Greg: We've been 

putting it out there 
ass that. It's been 
like 3 years since 
"Calculating..." came 
out. Since then and 
besides me, Liam the 
bass player wasn't 
there for that 

either. As you know 
he took over from 
_ _ ident. 

UFC: Hows Adam doing? 

Greg: He's doing well. He can move his arms but he 
cant really make fists and things like that. He's 
pretty far off from walking, much less be able to 
play bass again which is a shame. He's still a really 
important contributor to the band. He actually - on 
the to | with Mike Patton - wrote a couple of things 
and jjfln still comes -to practices to give us input. 

He's\y$r<f>t a 
process f. But ah 
having no singer 
year between them 
but they 
Mike Patton. 

Chris have 
still be DEP 
will defini 

opinion in the writing 
2 ... I guess with them 
they got me, it was. like a 
anything. They didn't, tour, 
which ended up as 

sound has 
the next 


HUitu^yuu'd use 
or tiMe” band? 



fresh, new... .its /hard to 
. It's a bit like patting 
Its best to let otfcer .. people 

five words you'd use 





Grdg: The 
UFC: ...ei 

describe i 

UFc'i 'well 

yourself then? i, 

Greg: Awh man...I'm a perfectionist. Pfe all are. 

Competitive. Again we all are. If we mike a mistake 
live, we dwell on it for days. We lea^re nothing go. 
It has to be perfect. There's definitely a lot of 
tension because of that - a lot 'of banging heads,, but 
that's the best way to^$^>rk things _^ut‘. &one of us 
does something wrong j, JiK^gt^ers J|g^'' t back in 


Dead Scene" 
you tell* us 


some more about that and how ' it came, to ha] 
you get to sing on; it? 

Greg: ; I guess the option was '^^ 
it but we kinda just.^elt^thai 

Jurying to.^categorise us - 
igazines but the metal kids 
dn't 1 (look metal % jthen they 
[core maga2£he#**and 4 we were 
md/too technical ? So it's 
fndsf are starring to open up 
id stuff like that . 

hardcore. The press were 
they'd put us in metal nu 
didn' t, like us cos we di 
would put us in the hare 
then jseen as too metal ; 
kinda hard but peoples' mj 
La bit to cross breeding ai 

IfSlJ-fc “WOUl* 

and k h'ot 

Mike Patton to 
whatever . 

UFC: Was that ' 

Greg: I think s: 
always expresse 
other. When Dind 

Bungle they ,'ve 
:ing with each 
1 ways I guess 

^ SPC : |HoW^did the System Of VA Down tour go? 

Jpr»g|:, It" was split right down the middle, jy^was fun 
because our music is |sp£ hostile and we'd come out to 
a pack of hungry wolves every night, who just wanted 
to see System of a D6wn. System told us stories that 
|g| 0 |i their first tour w/ Slayer, the boos were so loud 
|;^they gLcouldn' t hear themselves playing. We were 
l^ex^oting a reaction like ^ that, people booing and 
throwing! shit at us^all night. Kids were supportive, 
^some were like fuck Tyou , get out of here. I'd hate to 
^»KKj^||g>and that people didn't give a shit about P. 
"j they loved us or hated us they still come 
| ^b^^of -^t^e shows talking about r us. SOAD were awesome. 
rpOTeyfirst cool sign was they p icked us as a favourite 
'’ ; -band of theirs. We didn^t^ Ka^ to buy onto the tour -jj 
HHF don't have the mori^ to get oni|U>urs like that. 

K ls would^offer 50>,or 60 gida^^^gfit their 
that tottjp$ But" ^soad ^er eJEl, i 1 s 
»ld: oubO^e don't need th^]^elp| oi ¥■ sujppo r t 
eph bicMjts . They wanted Jw | and |^re "hapfcy 
.respect^us that., much, ;.and^wefrkf 

r respect us that much . They could have 
?re accessible band! They were; laid back, 
into music 6 we traded ideas. ”'1 think of 
axi me mainstream, metal bands out there, “ they're 
definitely the ones doing new & different things . * 1 

it was a perfect 6p) 

So 1 they sent 
had some new song4 ; j 
and if you know an 
help us out. I rid 1 1 
Everyone was so exc: 
not long aftei^ards 
& now? So I paiebjn 
our own thing' after 
J.ive. J 

UFC: Was Patton ev« 

| for DEP? dj t 

Greg: No, | don't think DEPTwaxjted iojho' it cos 

Mike's got kuch a huge presence and DEPJdidn^t wan^ 

J to get absorbed into his sta|pS oi| where’ DEP would be 
seen as his project. This ep isn't Mike ^’Patton with 
DEP. It's V collaboration. We didn't want DEP to be 
like Tomahawk -pr Peeping Tom. «|t Was" a one off thing, 
jazz musicians a do ib all that tlme,.^it was fun to^tio. 
We wouldn'x be feeyond -collaborating with someone else 
in the future. Mfct helps to collaborate as ypufflorow 

^toufollcfr through on itlaj 
n emai 1 s ayiqg that ~thejf 
w&pe lookln^for a singer 

sou^d. you 
■ “saying 
rrSt^Uiat . 
i&jf were jj 
^gith P| 

UFC? : ^ Theres talk of a split with The I< 
Greg: Not a 100% sure on that one. Tt 
we have.that it may push back the rele 
^11' leffgth. But I suppose we'll 
ep coming out, so I'm not 100% sure ju 

UFC: You h ^ 

"Damage’ll I/' for tmtebTCti ai Rec!^ t£ 
Greg: The 1 " of that just came out 

Nightmare and Anodyne . It' s epp^g^ou^ 
il000 «*each series °% '^gne^es" firstrpfca 
bripg it all out on one ^uble cth W^ 
■PPcamaged II". We ^Lid it onji ' lowjjpH 
B ra ck. Just went in and did it ana ^il 
raw just like Black Flag. You can orde 
Initial Records website. . 

song t: 

.es^ being "When .^gb 
^ H3n" and "Hollywo 
S^..^yoh/'d^^?ic e to share with* 
-*§ong titles and songs? 

Ln" and "Hollywood SquareJ^]^ 3 ^ 5 ^g 
le D^gpKonep while the othefnas so 
it and stu^f like that so itlwas a n 
to take r that was Patton' 

.y . JPne&We -...did an Apex Twin cover 

I think is that its on 

.n stage has sold lots and lol ts'^or 
cU ted ^specially since Guns 'N' Roses 

UFC:. - Music can keep moving forward and pushing 
boundariek^Woul d yo u consider DEP to be a flag bearer 
,rfor’ that? 

Sre<?: Our goal is to stay two steps ahead of 

everyone. Our new songs have taken the same thing but 
we have elaborated on them. We want to stay ahead of 
•everyone but if someone comes along and kicks out 
J ass, that'll just make us play harder. 

UFC: So are you enjoying your time in The Dillinger 
Esdape Plan? 

Greg: Yeah. It's been nuts! We've been on tour since 
January. We've got to start writing the new record 
and hopefully have it out by early 2003. j 


Greg: Sometimes I feel we don 
pi ay ^ with hardcore bands a -lot 
we are aggressive but we d 
ourselves a hardcore : band w .It's one element of, what 
we are but we ^have many , elements. 5 I thiW we 
bit" qf a backlash for^pT. lying wii:b System of a Down. • 
We - r <il'c4n ' t know 'what' ;■ to '^make^pf ^i t , cos we never 
painted ourselves as a hardcore band. Some /people 
call it noise, progressive, hardcore, metal whatever... 
we never really adopted any of those labels. Anyone 
we respect we' 11 play with - if there was a hip hop 
group or a jazz quintet who we respected then we 
would play w/ them. It seems like we' re carving out 
our own niche in terms of public acceptance or a 
genre. We have much more to offer than just 


■ W^m ™ that...your coverage seems to have calmed down alot since 

® then...what do you think caused the popularity at that point ? 

Limerick, any reason for it? Speedo: We had never been here before, and we had the band since 
Speedo: Well I heard it was to coincide with the 150 th Sausage Festival 1991 or something like that... oh wait, we may have had the band since 

that they have here in Limerick so they wanted to fly in the big talent. ’89 actually... I’m not sure. Anyway we’d been around sometime, we had 
The red phone rang and we answered the call. 2 records and countless singles out and a lot of it had to do with the fact 

that we had established ourselves but people hadn’t had the chance to 
UFC: Its actually the Expo festival-lots of pubs are taking on check us out live - to see our flipped out kick ass rock n roll music. At 

nationalities in the World Cup... they’re Brazil here in the time there was a bit of a void. People were like “yeah lets check it 

Dolans... out” and to this day we still have much more than anyone else. We 
Speedo: Is that what it is... do Brazilians like sausage? don’t bask in our own light, we don’t think what we’re doing is 

necessarily amazing or original or anything. We just like to have a great 
UFC: Dunno...never been to Brazil, nor have I ever spoke to time, 

a Brazilian regarding sausages...did you get any sausage? 

Speedo: Yeah, I got some the other day. It was pretty good. UFC: did you feel being in the spotlight so much? 

Speedo: Yeah it was cool. It all helps you sell records and people read 
UFC: So how have the other Irish gigs gone? about the band but ultimately it doesn’t have any real weight or any 

Speedo: They were pretty good. We’re just getting warmed up. We’ve real meaning to what you do onstage or what you do on record. I have 

only played 2 shows so far, Dublin and Belfast. Tonight we’ll kick no interest in explaining myself to anyone or trying to comince 

things into high gear. Do people like to get whipped here? someone to like my band. I just really don’t care. The way I look at rock 

journalism on the whole is its all just black or white. If it turns someone 
UFC: With what? on to the band, or they buy a record or come to our show and check us 
Speedo: A belt or a whip.. .do they like that? out then cooL.thats the only reason why I usually bother. 99% of the 

time the writer or the magazine has their own agenda which has 
UFC: Oh yeah...they’U probably whip you back though... nothing to do with what I’m about. 

Speedo: I don’t see that happening. 

UFC: and now the interest has gone quieter? 
UFC: You know about Limericks reputation right and that its Speedo: On a press level... definitely... you don’t get the press level and 

commonly known as “Stab City”... people banging on your door. But in terms of shows, they may be a 
Speedo: Yeah, everyone said that to us but we went walking around and little smaller but not much. I think the only people who don’t come out 
it seems totally nice. To me it’s a beautiful little town. that used to come out are those fringe people who were not really into 

it in the first place and just came along to check out what all the hype 
UFC: Okay, but head down around Supcrmacs on O’Connell was about. The real people who just love the music are still here. 

St., around 3 a.m... They’re still supporting us and we’re still making new friends. So it 
Speedo: What? You’ll get stabbed? doesn’t feel like its quieter and I think we’re making better music now 

too. We’ve like 10 records out and we play 1 or 2 from each record so 
UFC: Possibly. ..I’m sure something will happen... we’ve got a pretty cool set. It spans a long amount of time. 

Speedo: So I’m guaranteed a fight? 

UFC: Getting hack to the whole Scream Dracula Scream 
UFC: Well if you start whipping people down there you’ll see explosion , people are gonna expect that stuff to be played in 

some action ... the live set, like especially the singles...(on a rope, young 
Speedo: Oh yeah! People told me not to bring it up about “Stab City”, as livers, born in 69) you consider this when deciding your 
you actually take offence to it. I’m disappointed though, I haven’t seen set list? 

any knives. Maybe its slang for something else... like “stab” = sex! Speedo: We play songs off all the records and I was surprised last night 

when we played in Belfast that people were disappointed that we didn’t 
UFC: I think this is you 3rd time over here...what do you play more songs off our “RFTC” record. We do play4 songs off that and 

make of the place? people were still asking for other songs. It surprised me as in the States 
Speedo: Urn.^ or 4 th yeah... if there was one record that wasn’t exactly on the radar for all of the 

people that were into the band, it would be that record, mainly because 
UFC: You played the Mean Fiddler the first time round... it wasn’t well distributed and it was seen as a bit more polished than 
Speedo: Yeah , we played there when it had just opened. Were you at our other stuff. 

that show? 

UFC: I’m sure you think the latest batch of songs are just as 
UFC: Yep... good and even the earlier songs are just as good 

Speedo: Cool. I think we played there again and then we did two shows Speedo: We’re really psyched with the new songs and its all going good 
at Templebar Music Centre. I dig it. We like coming over here. Its fun together. You get more excited about playing new songs... 

and we have good shows. People are friendly and they embrace the rock 

n roll action. They like to party and dance and... UFC: ...I’m sure you get tired of playing... 

Speedo: ... “On A Rope”... 

UFC: ...drink... 

Speedo: That’s for sure! UFC: ...yeah... 

Speedo: I really don’t need to hear that song again! But the problem is 
UFC: The band exploded onto the scene with the Scream people really want to hear it and when we play it people react and 

Dracula Scream album and the singles you took from therefore I guess it rejuvenates the song a little. 

UFC: ...what songs do you play off “Hot Charity”? 

Speedo: None pretty much... oh wait we played “Pushed” and “My 
Arrows Aim” today at sound check so we’ll probably play those. 

UFC: Nice one. What do you make of bands like the Hives 
and the whole uniform thing which your good selves 
championed a good few years back and which people seem to 


Speedo: I think its weird that we get mentioned a lot with that. It’s 
neat. They dress neat. There’s lots of bands that dress up, like wearing 
stuff they wouldn’t wear when they’re just cruising around. We just 
happen to be more obvious about it. We’re a full on, head on collision 
between Las Vegas lounge glitz and squatter shit punk. We straddle 
that line and bring the big stage show to the small venues. We 
specialise in bringing the big show to the small stage! 

UFC: What was the idea behind the whole gang thing... 

Speedo: There was no idea. A lot of that was magazines saying “hold 
this, look at that”. In retrospect they certainly have the power to make 
you look stupid. I mean people are intimidated by us because there’s so 
many of us. There’s 6 in the band and usually when we travel there are 
at least 9 of us. So there’s like 9 of us invading places. So we take 
advantage of that safety in numbers thing but we’re not a gang. We 
don’t have a violent agenda or anything. Its called a band! 

UFC: So you started your own label...wanna tell us about it? 

Speedo: It’s called Swami Records. I started it in 2000 and put out a 
RFTC compilation of B-sides and obscurities. I’ve put out some San 
Diego bands and right now I’ve just acquired this band called Beehive 

and The Barracudas. I just 

bought out their contract 
from Terry Hall from The 
Specials / Fun Boy Three. 

He had their contract and 
I bought it off of him for 
$50! They call themselves 
“plastic soul”! 

UFC: ...which is?... 

Speedo: You just gotta 
check it out. Its really cool, 
its really fun. It’s going 
great in the States and I’m 
out of copies of it. RFTC 
may not have so much 
longer as I’m making so 
much money on the label I 
might just do it full time! 

UFC: ...was there 
some San Diego band 
compilation too?... 

Speedo: No. I was 
thinking about it but 
compilations are too hard. 

Too many bands give like 
shitty songs. Its better to focus on full releases. Maybe someday I’ll do 
the compilation as it is something I wanted to do. There’s lots of good 
bands in San Diego right now; RFTC is kicking, Beehive and The 
Barracudas, The Black Heart Procession, The Locust, Threads the 
Track - who sadly broke up recently, Dick Lugenger - they’re really 
cool. Its really happening. So provided the bands didn’t submit stinkers 

the compilation would be really cool. 

UFC: I always regard RFTC as showmen who give it their 


Speedo: We kick a lot of ass! We don’t hide that fact and we don’t want 
to obscure it. We like to have a fun time and it certainly beats a day job! 

UFC: ...but does all that take a toll on your voice and health? 

Speedo: Yeah... but its like who cares! Everything takes its toll, like 
walking down the street or just breathing air. When you get so much 
satisfaction from something how can it be bad for you. 

UFC: ...and you’ve a new (-ish) drummer... 
Speedo: Uh huh...Mario...that’s him right there next to you... 

UFC: ...(turning the recorder on Mario) how are you 

fitting in? 

Mario: I’m fitting in great! I’m totally awesome. I love it. 
Speedo: He thinks he is! We fit in him really good! (boom boom, Carry 

on Speedo eh?) 

UFC: I’m asking this question in exam format...Heres a 
quote I read about the band ..“RFTC are eager to prove their 
reputation as being the best live band in the world” Discuss. 

Speedo: See I don’t care about that. That’s a good review but I don’t 
think we’re the best... I mean I’ve seen better. But we tty. We tty to be 
the best in the world. Everyday theres some band, somewhere, in some 
club, whether it’s a huge stadium or a dive bar, but that night that band 
is the best band thats happening in the world at that time. They might 
suck for eternity but the stars are in line and it’s just a moment or a 
song that makes them the best. So we try to be that band, and where we 
are is the place to be. And if you’re not there you’re square! 

UFC: So whats happening with your side projects...The 
Sultans , Hot Snake and Back Off Cupids? 

Speedo: The Back Off Cupids record was recorded a long time ago and 
surfaced about 5 or 6 years after it was recorded. The Sultans play 
around sometimes - we’ll do a couple of shows. Tony the Perv - the 
drummer - is the leader of that band and he writes all the stuff on the 

walls of the bathroom. 

UFC: Is that Marios job in RFTC? 

Speedo: No. 

UFC: So its not a general responsibly for drummers then? 

Speedo: No it’s the job of a Perv! Tony is pure Sicilian so he gets real 
pervy ! The last thing we - The Sultans- did was fly out to Boston to see 
the Mission of Burma. Hot Snakes have a new record due in the 
summer called “Suicide Invoice” and that’s on Swami Records. Its 
totally different from RFTC. I don’t sing or write any lyrics. I just play 
guitar. Its similar I guess in that its guitar and its punk and theres 

velocity but its more of a 

continuation of what I did 
in Drive Like Jehu. 

UFC: How you finding 
Vagrant Records... 

Speedo: The next record 
will be on Vagrant too. We 
just need to find someone 
over here to put out our 
records. B-Unique license 
our records but I really 
wasn’t satisfied with their 
distribution. We’re going to 
check stuff out. We can go 
with whoever we want over 
here as part of our 
agreement with Vagrant. 
Someone cool might step 
up to the plate. 
UFC: Did Vagrant 
support this tour? 
Speedo: No. The States yes, 
but Europe is B-Unique. 

UFC: Is there any truth 
in the rumour you recorded some vocals on Elvis’ grave? 

Speedo: Yep we did the vocals there. We took a mobile unit up there. 
One of the guys at the studio were we recorded made a phone call to his 
cousin and it w'as all cool. We couldn’t go inside the house. Its heavily 
guarded and only for the connections we couldn’t have done it. Elvis is 
buried at what used to be the pool but what’s now called The Reflection 
Pond. Him, his mother, his father and his stillborn twin are all buried 
there. So yeah, we pulled up the truck and ran the cables over to the 

grave and did the vocals! 

UFC: Out of sheer interest, did you find any Irish people with 

the famous “Rocket” tattoo? 

Speedo: You’ll have to ask Pete. He checks all that stuff and gets the 
blood, semen, and hair specimens and sends them off to our DNA 
expert at RFTC HQ, where we’re cloning Irish people. 

UFC: Lastly, whats left for RFTC to conquer? 

Speedo: To conquer? I don’t know... we’re not like the Vikings, we’re 
coming to party! I’d like to go to Asia and South America or any place 
were people are fertile and you can just blow their minds with rock n 


Ann Arbor - demo cdr 

6 tracks of Oxes, Big Black and Shellac 
influenced rock here from this UK duo utilising 
guitar, bass, programming and bass synth 
(whatever that may be). It all arrived in some 
sparse white packaging which gave it an extra 
bit of intrigue when I spotted it each time in the 
review box amongst the over produced over 
budgeted big “indie” label releases. And yep I 
dig it, which is hardly surprising considering the 
hours of entertainment I have received whilst 
listening to the aforementioned three bands I’ve 
compared them too. Nice stuff and I’d sure love 
to hear some more soon. (TM) www.ann- / / 
ann_arbor_uk@yahoo. co. uk 

Bastard Youth: "Youth Crew" demo 2002 
Oh good lord. I saw BY's very first gig last 
summer in a pub in Waterford, when they had a 
completely different line up (only Ian remains 
from those days) and sounded a lot more "punk". 
They were fun, I was drunk, there may have 
been some MINOR THREAT cover action. Boy 
have they changed for the better in the past year. 
An almost completely different line up, all new 
songs, and a year of playing every possible gig 
available to them later, BY are pretty much my 
favourite of the new wave of Irish hardcore 
bands, and having just returned from watching 
them deliver the most incendiary set of the 
Warzone festival (where the wiped the floor 
even with great white hopes The DAGDA) my 
faith in them is growing by the second. Okay, I 
was asked by Ian to review this even though it's 
probably going to be re-recorded with the full 
line up (this was done as a 3 piece, and they're 
now a 5 piece). 4 songs of snotty, in your face 
youthful aggression that brings to mind 
OF DISASTER having a punch up. Or maybe 
what the Billy Barry kids might sound like if 
they heard a CONFUSE record, started drinking 
and decided to hijack the Toy Show and play 
punk rock. The spirit of real hardcore punk rock 
virtually drips off this tape. Get your hands on 
this so you can say you were there at the start 
(aaagh, I've lost the address! contact me for 
more info - 

Barberskum - Promo (Skumbag Reckords) 
New two track promo from Limerick’s pop 
punkers Barberskum, whose playing has become 
excellently tight in the last year or so. Franks 
vocals still sound a bit too Fat Mike but sure 
that’s only a minor gripe as there’s plenty of 
song writing ability on show between “Good 
Riddance” and “Forever Young”. I’ve a sneaky 
suspicion that “Forever Young” is an ode to 
Franks girlfriend Terry - ah the auld romantic! 
The Epitaph / Fat Wreck kids should go for this 
big time. I think two more tracks are being 
added to this two and released as an ep soon. 

Cape Canaveral - demo/promo 
Standing dead center in the space between bands 
like Buffalo Tom/Sugar and the whole emo 
scene Cape Canaveral are mellow and relaxing. 
In fact the songs are so laid back the band 
possibly recorded them lying down! 

Nevertheless the use of good melody and some 
good songwriting craft make this 3 tracker an 
enjoyable listen. According to the band themselves, 
the newer stuff has more of an edge which should 
make it even more worth your while to check out, if 
you need a break from all the heavy and fast stuff. 
And lets face it we all need that break from time to 
time! (TM) Cape Canaveral, c/o Seismic Records, 
86 Carlton Road, Boston, Lincolnshire, PE21 8PQ, 

Dogshit Sandwich/ Gruk Split cassette (AON) 
Punk as funk DIY tape from Bulgaria. The whole 
attitude of this tape is inspiring, so much so that 
more people should do this. Its your back to the 
grassroots of punk, photocopied covers and normal 
blank cassettes release. It serves a purpose of 
leaving people hear bands rather cheaply. I cant 
think of anything better than this whole concept. 
Dogshit Sandwich give a massive 32 songs. Their 
entire recordings. Its nice and aggressive, GBH and 
Exploited influenced tracks. Gruk also give their 
entire recordings which are a mere 12 tracks. They 
play fastcore meets crust. I got a huge kick from this 
tape. Flying the flag for the punk rock spirit. (TM) 

Dogshit Sandwich / Set Back / Nobodys Heroes / 
Final Thought “Tales From The Bridge” cdr 
3 songs from Dogshit Sandwich “Tony Blair” which 
lasts about 40 seconds and repeats the line “Tony 
Blair, fiickin cunt”. DSS sound great these days. Go 
for the throat hardcore punk rock. Set Back are 
spiky 80’s influenced UK punk ala Exploited or 
GBH. They bring it on and rock like bastards. 
Nobodys Heroes are a more raw punk sound. Their 
first song rules, their second sucks shit. Final 
Thought are the worst band on this. They’re funk 
punk and they suck. (TM) or 
Punk Shit Distro. 

Divide “Glasgow Hardcore” cdr 
7 track cdr of classic hardcore injected with a dash 
of metal here and there, Divide draw heavily from 
the New York and Boston hardcore scenes and 
that’s just fine with me. Sick of It All, In My Eyes, 
H20 and Slapshot can all be heard in Divides 
anthemic tunes yet they still manage to avoid 
sounding exactly like anyone else which is cool. 
Live they were tight, energetic and would have been 
the perfect pit inducing band if anyone felt like 
dancing. “Stalemate” is a top tune. (TM) 

Eviscerate AD - promo 2002 
I guess these guys would be all about the total 
beatdown fury live as they join the growing trend of 
short haired, baggy shots wearing kids playing 
heavy metal and throwing the “core” word around. 
What Eviscerate have in their favour though is a 
slightly different approach incorporating two 
vocalists; one who handles the hardcore screaming 
as the other who produces death metal grunts from 
the bowels of hell. Thinking Immolation meets 25 
Ta Life wouldn’t be far off the mark to be honest 
and if you’re a fan of metal core I can’t see why you 
wouldn’t get a big kick from this refreshing 
delivery. Nicely packaged in a resealable bag with 
some clever artwork just to round things off very 
nicely. Keep an eye on these guys... I can see them 
crossing boundaries and becoming very popular. 
(TM) Eviscerate AD c/o Dean, Room 121, APU, 

Peter Taylor Halls, East Rd., Cambridge, CB1 1PT,UK. 

Eviscerate AD - “The Layment Configuration” demo 
Nice one, noticed this on the merch table at the Divide/In 
Decades Decline gig in Limerick and snapped it up after 
liking the promo they sent me a lot - (see above review). 
So for 2 Euro I snapped this 6 track cassette demo up. The 
opening two tracks are the same as the above promo and 
are the most recent recordings where as the remaining 4 
tracks stem from an earlier demo effort. Needless to say 
the most recent recordings tear the older ones a new 
asshole and are quite savage in their approach and 
delivery. Definitely a band to check out if you’re well into 
a bit of metal. “Beatdown death metal” screams the sticker 
on the cover and I can’t argue with that! (TM) Eviscerate 
AD c/o Dean, Room 121, APU, Peter Taylor Halls, East 
Rd., Cambridge, CB1 1PT,UK. 

Fool “Wheres Me...Wha?” demo cd. 

First time I’ve heard this Northern Irish punk combo and 
they ain’t bad at all. Playing the kind of upbeat punk rock 
you’d associate with The Bouncing Souls, their accents 
contrive to bring to mind a melodic version of The 
Dangerfields. They certainly come from the same school 
of humor as on a whole this three tracker has a pisstake / 
fun element - right down to the picture on the inlay of the 
marker face drawn on someones exceedingly fat belly. 
“Summer Jobin’” borrows the riff from Penny wises 
“Straight Ahead” while “15” carries osme of the dodgiest 
lyrics every written. Worth a listen all the same. (TM) / *Punk Shit 
Records carries this release and its rather cheap too. See 
Contact Addresses. 

From The Ashes “21:11: 01” advance cassette 
Those of you who were luckily enough to catch From The 
Ashes when they played a few gigs here in Ireland a few 
months ago will no doubt be eagerly anticipating a release 
from this excellent metalcore band. I certainly was mad to 
hear more after their live performance and badgered lead 
guitarist Pete into making me a tape of their stuff. So the 
great Pete came up triumphs when he returned an advance 
cassette of their forthcoming debut longplayer, and boy oh 
boy does this shred. First up the guitars, they’re top notch, 
rolling out riffs inspired by At The Gates, Iron Maiden and 
Hatebreed. Then theres Emz vocals, she really lets rip - 
with a voice like hers shes undoubtedly embarrassed a few 
macho idiots already and no doubt plenty more to come. 
Honestly, I wish I’d had more time to give this the amount 
of listens and review it greatly deserves. By the way, the 
cassette came accompanied by a photocopy of the lyrics, 
each with an explanation underneath which I found an 
impressive and heartfelt read. Right now, theres a few 
labels interested in releasing this, but whichever one 
finally does they can rest assured they have a winner on 
their hands in the form of “21:11: 01”. (TM) From The 
Ashes c/o Pete Ryder, Flat 33B, High St., Neston, Wirral, 
CH64 9TZ,UK. 

M07’s- demo cdr 

Recorded some time early last year the M07’s play punk 
rock with a rockabilly and 50's influence somewhere 
between the lines of The Reverend Horton Heat and 
Misfits. Despite having ex-members of Irish punk bands 
Striknien-DC and Handicap Allowance, they certainly 
don’t sound like either. I’d even be as bold to say that 
they’re one of the freshest approaches within our Irish 
scene in recent times. Scouring through the inlay card I 
noticed that the three piece go under the fun monikers of 
Bo Deadly, Chuck Buried and Bloody Holly! Well worth 
the effort of writing to the band and getting this. (TM) 

M07’s, c/o Mark Devlin, 21 Roger Casement 
Pk., Bray, Co,. Wicklow, Ireland. 

M07’s / Blood Red Dolls - promo cdr 
Split cdr from two Wicklow punk bands, where 
each band supplies a mere one track each. "Saint 
of All Killers” from the 5 track demo cdr is the 
M07’s contribution and its their typical horror 
punk fare, (see above review of their demo cdr). 
The Blood Red Dolls offer us “Demented Little 
Boy” which is similar to Mo7’s in that it too is 
in the horror punk vein , with Rev. Horton Heat 
and Jesus Lizard things going on through the 
distorted vocals and twangy guitars. The 
recording is of a high standard and both bands 
shine through as ones to watch in the Irish 
underground scene. (TM) Blood Red Dolls / M07’s, c/o 
Mark Devlin, 21 Roger Casement Pk., Bray, 
Co,. Wicklow, Ireland. Samg@indigoie 

Send More Paramedics - demo 
Three quarters of And None of Them Knew 
They Were Robots bring us their salute to thrash 
metal and crossover under the glorious moniker 
of Send More Paramedics. Described as 
“zombies playing Megadeth” on a recent gig 
flyer, the band are infamous for dressing in full 
B-Movie zombie rig-outs complete with 
bloodied bandages and face paint and rocking 
out their five tracks of Slayer, Megadeth and 
Suicidal Tendencies sound to ensuing chaos. 
Lyrics wise its a blast, and will easily bring a 
smile to your face - check this line “A sickening 
twist of science seals your fate, your neuron 
juice can ease my pain, I can’t endure the pain of 
being dead, unless I eat your fucking head”!. 
The whole demo is strewn with excellent movie 
samples sticking to their whole zombie movie 
theme. Overall the guitar work is pretty 
inventive with solos fucked in with reckless 
abandon and whammy bar action is go! It’s 
pretty cool to get a tape of a band having a bit of 
fun but when the music is cool too its top notch 
stuff. (TM) Get it from: Send More Paramedics, 
c/o Duncan Hall, 19 Burchett Place, 
Woodhouse, Leeds, LS6 2LN, UK. 

The State Pathologist Dr. John Harbison - 
“Veins of The Earth” demo cdr 
The heaviest bunch of little bastards I’ve heard 
in a while from our fair isle, the John Harbison 
boys know how to pummel the listener into 
submission with a relentless attack of heavy 
grinding metal and cutting edge technical 
hardcore. The Kildare three piece serve up three 
tracks in less than 13 minutes, with more than a 
nod to Brutal Truth, Vision of Disorder and 
Candiria. The vocals are mean and nasty, 
guttural as fuck and summoned from the bowels 
of hell no doubt. The percussion on this rules, 
blast beats, double bass drumming, tom work, 
you want it... its all ready there. Possibly the best 
band name ever from an Irish band too. (TM) 
Get it from: Niall O’Reilly, Connaught St., 
Kilcock, Co. Kildare, Ireland. 

V/A “Hardcore Times - Sentiments of Belief’ 

Shay, who does 
website, unleashes the first instalment of some 
of his planned projects. Totally DIY - right 
down to the self printed and self applied cd 
labels - he’s still managed to gather together 
some really cool underground hardcore bands. 
Names such as openers The Cause, who deliver 
a blistering song ala American Nightmare, 
Icelands I Adapt, Scotlands Divide and Northern 
Ireland’s From Where I Stand all showcase 
plenty of ability and hardcore music know-how. 
The artwork is pretty cool too and the only real 
fault I can find with this cd comes in the form of 

the poor quality of the live tracks by Cold War and 
2000 Strong, which do neither band any justice. Ten 
out of ten for effort and delivery, hopefully Shay 
gets a craving to turn this into a regular series. (TM) 

17 Stitches “The Antisocial E.P” (Dislocate) 

The last 17 Stitches recording I heard was the 
Skipworth Records release, the name of which 
escapes me right now. What I can remember though 
is that it was a fine ep, and this “The Antisocial 
E.P” is no different. The big Agnostic Front sound 
they had is still here in abundance but they’ve got a 
big 80’s UK punk sound going on it there too. Great 
energy and catchy as fuck. The way punk rock 
should be. (TM) 

324: LP (HG: Fact/Studio Grey) 

Okay there is actually a title for this LP but I can’t 
remember how to spell it right now (I’m typing 
from notes and I forgot to write the title down!). 324 
are the kind of band you can only describe properly 
by pretending you’re Mick Harris writing a thanks 
list for an early NAPALM DEATH album. In which 
case the phrase you would employ would probably 
be somewhere along the lines of “ultra mega 
whirlwind total grind tornado holocaust action”. Or 
something. But seriously folks, this Japanese 
powerhouse are 100% grindcore; not hard-core, not 
death metal, but some lustrous place in between the 
two that reduces the extremities of both to mere 
flecks of dust. This brings back glorious memories 
of the likes of PROPHECY OF DOOM, MULE 
GIBBED, and all those other sadly forgotten bands 
that John Peel would play on his show amidst the 
jangly indie and Bhundu Boys records back in my 
youth (incidentally if anyone has any stuff by these 
bands - get in touch, cos I’ve lost all my old tapes of 
them!). Tight, powerful, and with blast beats that 
drive home furiously under the down tuned guitars. 
The vocals on this stick out, being a mid range 
shout as opposed to the usual guttural grunts or 
banshee screams, and there are some very cool eerie 
midpaced moments amongst all the grinding 
mayhem. Think a more daring TERRORIZER and 
you’re getting there. Fucking excellent record. (JG) 

50 Caliber “Internal Bleeding” (Blackfish) 
Creeping out of the shadowy back alleys of East 
London 50 Caliber offer up 5 tracks of violent 
metalcore assured to mallet your head into a pulp 
with its viciousness. And while 50 Caliber are 
nothing entirely new, the hot-blooded delivery alone 
stands this record out on its own from any other 
recent releases in this genre. The influences are 
there from early Earth Crisis, Integrity and All Out 
War to the Euro edge-metal from areas such as the 
H8000 scene in Belgium. Its more metal than it is 
hardcore especially on a track like “Left Mystified” 
which parades Swedish metal influences all over its 
guitars and double bass drumming. As a band and as 
a package everything conies together very sharply 
and I’ve played this fucker on many occasions. The 
artwork by Mid, who has graced the covers of 
previous Blackfish releases, is once again 
immaculate. And speaking of Blackfish Records, 

Ian Glasper, who prides himself and his label by picking 
out the best UK metalcore, had done us all proud by 
making 50 Caliber no exception to that rule. The Yanks 
may have done metalcore first but the UK (and Blackfish 
in particular) does it best nowadays. (TM) 

98 Mute “After The Fall” (Epitaph) 

Now this one was a surprise. Expecting this to be your 
usual Epitaph half baked melodic punk, it couldn’t have 
been further from the truth. Having heard their “Slow 
Motion Riot” previous effort, again I wasn’t expecting 
much. But blow me down with a straw, have 98 Mute got 
their act together or what. The biog exclaims their love of 
Bad Brains, Descendents and Pennywise and that seems 
fair having listened to this record a good few times now. 
Harder than their previous effort it’s full of gang vocals, 
sharp cutting guitars and an ear for melody within a fierce 
punk attack. I’d bet 98 Mute could be the outcome if Bad 
Religion mixed with Ensign. Possibly the best song on the 
whole record, “Small Minds”, stands out due to its clever 
use of acoustic guitar... acoustic hardcore anyone? Hey, 
and the comparisons don’t stop there. I found “Injection” 
to sound like Pennywise covering Minor Threats “Seein’ 
Red”. Again, this was a nice surprise. (TM) 

All Boro Kings “Just For The Fun Of It” (Century 

Remember Dog Eat Dog? Yep those happy go lucky chaps 
trom New York City who sang about good times and 
blunts, well 3 of their ex members are back with a band 
named after DED’s most successful album “All Boro 
Kings” which also happens to sound very much like Dog 
Eat Dog too. Actually, because of both the musical and 
lyrical similarities, this has left me wondering why they 
bothered to change the name at all. Maybe it’s the fact that 
John Connor (vocalist with DED - you know the guy with 
the Dumb and Dumber haircut, who crowd surfed on an 
actual surf board and constantly wore the Republic of 
Ireland’s football jersey "cos he had an Irish wolfhound or 
something) isn t present — although he does guest vocals 
on one song. Anyway every song makes references to beer 
and blow and to be honest its all rather boring. Really I’m 
surprised that Century Media released this considering 
they have some great stuff in the form of Candiria and 
Shelter. I dunno if a mix of Run DMC, Bloodhound Gang 
and Biohazard sounds like your bag it might be worth a 
listen. Honestly, I found this a complete — and unwanted — 
rehash of Dog Eat Dog. (TM) 

American Nightmare “Year One” (Reflections) 

If you’ve just been turned onto American Nightmare 
following the “Background Music” longplayer, heres a 
handy way of getting your lugs round some of the earlier 
Bridge Nine eps, thanks to the people at Reflections 
Records. The AN sound of now is pretty much the same as 
the earlier sound and theres even a few tracks that make 
the step up from these eps to the full length. Having heard 
both eps and the full length probably doesn’t help me 
review this too well as theres nothing new for me here. 
Still like I said, if you’re interested in tracking down both 
eps, this will be a welcomed sight. (TM) 

...And None of them Knew They Were Robots “s/t” 

To start with, is that the longest band name in history? 
Imagine it printed across a skinny fit t-shirt! Enough 
babbling, on with the music review, and its all jangly 
guitar and sweet sung vocals to begin with. Which all acts 
rather brilliantly as a smoke screen for the theatrical 
screamo action, crashing drums and noisy guitars which 
follow. Dynamic, is the word I’d use to sum up in one 
what ...ANotKTWR are all about. Some songs clock in at 
6 minutes plus but never bore as theres lots of structures 
and effects happening in the songs, like say, the post rock 
jazzy feel of “Division Formed Thus” which calls to mind 
Victor Villareal’s playing on the last Owls record. I could 
see this band finding a comfortable home on the Jade Tree 
or Deep Elm record labels. (TM) 

...And None of them Knew They Were Robots 
“Liebestod” (In At The Deep End Records) 

The Robots return and follow up their self titled debut with 
a complete turn around in musical styles. “Liebestod” 
which means love and death in German, sees the band 
paying homage to legendary DC outfit Minor Threat. Hell 

they even cover “No Reason” and do it rather 
well too. The Robots own tracks, of which there 
are 7, ooze of throbbing bass, scratchy guitar and 
shouted vocals. The sound of this is amazing , its 
so close to that Minor Threat sound. The vocals 
are specifically great. I wonder what the band 
will do live now, considering they’re no armed 
with two completely different styles. Great 
record. (TM) 

Avoid One Thing “s/t” (SideOneDummy) 

It’s not often an amazing record full of catchy 
melodic punk rock anthems drops in the 
letterbox but when it does you realise doing a 
zine and spreading the word on bands is a 
worthwhile cause no matter how frustrating it 
can all get. Avoid One Thing feature the song 
writing talents of Joe Gittleman from the Mighty 
Mighty Bosstones / Gang Green, who leaves 
behind the Bosstones brass and numbers to step 
out in a four piece (with various other 
Bostonites) to concoct some Jawbreaker inspired 
sing alongs. And boy does the lad do it well 
from the clever wordplay to the hooks and 
choruses which come thick and fast. Tunes such 
as “Every Second of Every Day” and “Bomb 
Building Songs” should have you breaking into 
song at any given moment for days after giving 
this record a spin. Great stuff altogether! (TM) 
*Note: The drummer on this record, Dave 
Karcich sadly passed away not long after this 
release. RIP Dave. 

Bad Religion “Broken” (Epitaph) 

Superbly infectious track from the excellent 
“Process of Belief’ long player firing out the 
super chorus every couple of moments to keep 
you singing along. Elsewhere on the single you 
get the unreleased “Shattered Faith”, which for 
all intents and purposes is b-side/outtake 
material (hey maybe Pennywise could have it? 
Har har only kiddin ’...), another album track in 
the form of “Supersonic” and a cd-rom video of 
“Sorrow”, which I thought was crap. Not 
essential by any means especially if you’ve got 
the album. One for diehards only one feels. 

Barcode “Hardcore” (Diehard) 

The straightedge anti-christs, Barcode return to 
follow up their previous “Beerzerk” album with 
more of the same tight chugging hardcore and 
cheesy lyrics about crews and drinking. I’m not 
joking you, an Easi-Singles factory won’t have 
half the cheese that sprouts from the lyrics 
spread across the booklets pages. Take this for 
example : “So let hardcore rule, join the crew of 
rambling bruisers, gross freestyle in smashing 
grooves and it don’t stop”.- An alien language! 
Dumb-ass lyrics aside, there aren’t many better 
around at delivering breakdowns, singalongs and 
mosh choruses, the way Barcode do. Heavily 
influenced by the usual New York Hardcore 
suspects ; Madball, SOIA and Cro-Mags and 
with the same groove as label mates Freebase, 
this alcohol guzzling mob from Denmark keep 
the hard in hardcore. Musically they give you a 
lot to chew on, but why they shoot themselves in 
the foot with those awful lyrics I dunno. Also 
they’ve used that stupid shotgun sample again 
(they used it in “Beerserk” too) - lads you’re not 
rappers from Compton. (TM) 

Beecher “Resention is a big word in a small 
town” (In At The Deep End Records) 

This opens with a fantastically eerie sample, 
broken by drumwork before some electronics 
creep in to add to its suspense before the 
whirlwind is unleashed in all manner of the full 
on throttle of Converge choascore. To keep 
things interesting thers also a lot of melodic rock 
ala BoySetsFire, and even a small bit of Tool 
going on in “Rise Above Grace”. The drumming 
is very much to the fore and the noisy vocals 
remided me of Paul from Medulla Nocte most of 

the time. I’d say this mob might be very interesting 
live. (TM) 

-Bjelke Petersen Youth : s/t 7" (Devestation) 

After appealing for more Australian hardcore in the 
last issue, this turned up in a pile of record^ I got 
from a mate in Germany! Yet more proof that 
Aussies clearly are keeping many a secret from the 
rest of the world, BJP are from Queensland and belt 
out a racket that's somewhere between FINAL 
EXIT (the Swedish nutbags from a few years back) 
and SPAZZ..It's generally all pretty rapid fire snare 
battering and axewielding, but with plenty of 
catchier singalong sections thrown in to boot. The 
lyrics win it for me though, as they use some 
cracking sarcastic humour to take aim at various 
topics from sexist blokes ("Circle Jerk of Friends") 
pro lifers ("Pass it on to the cockroaches") mobile 
phones ("Upwardly mobile") and careerist 
musicians ( the wonderfully titled "Your Band's not 
gonna make it so give up"). I really want to hear 
more from these, cos there's a whole lot of potential 
here that could develop nicely I reckon. Drop these 
people a line, and see if you can get your hands on 
this.. (JG) 

Bobby Joe Ebola & The Children McNuggits: 
“Carmelita Sings! Visions of a Rock Apocalypse” 
CD (S.P.A.M. records) 

Much as I’ve always loved pummelling fast 
hardcore/grind, I’ve always had a secret soft spot 
for the “East Bay” punk thing, particularly the 
weirder stuff. And it’s from the East Bay scene that 
the majesty of BOBBY JOE EBOLA emerges, to 
spread the gospel of rock to all and sundry. This 
may well be the most important, not to mention the 
greatest, record ever made. Ever. No record has 
made me laugh, cry and raise my eyebrow in a 
suspicious manner as much as this fantastic piece of 
Rock Opera (Yeah, that’s right, ROCK OPERA you 
feckless harridans!). From the swing-a-long gaiety 
of “I Love Drugs” and balls out rock of “Little 
Lamb” through the sweet emotion of “You don’t 
Have to Die Alone” to the harrowing dramatic 
grandeur of “Childkiller”, BJ and friends have it all. 
Think “Rocky Horror Picture Show” meets 
“Grease”, or FRANK ZAPPA, The DEAD 
MUPPETS all rolled into one. Think cheesy phrases 
like “life affirming” and “revolutionary”. And then, 
after you’ve thought these things, lay back and bask 
in the rampant Sex-Rock of highlight “Liver Lover” 
(sample lyric “I made love to a dead cow’s 
inaaaaardssss-ah!”). Seek this record out now, for 
feck’s sake. If you don’t like this band, you’re not 
human. Christ, send me a tape and I’ll dub it for you 
myself, that’s how much you need to check this out! 
The most important piece of sound on plastic since 
Band Aid (JG) 

Born Dead Icons/ Coma: split 7” (Busted Heads) 
My theory on BORN DEAD ICONS is this: if they 
only ever put out 7"s they'd be one of my favourite 
bands. I've got 3 7"s by them (this is the third) all of 
which I really like, but both albums have been 
absolute turkeys in my book. Once again, the 7" 
format works for them here because these two 
tracks are the best I’ve heard yet, and show them at 
a faster pace than I remember. MOTORHEAD 
meets AMEBIX meets HHIG if you've not heard 
them yet. COMA on side B are yet more of the 
whole "new" Swedish sound I keep referring to, 
mixing ENTOMBED (circa "Clandestine") with a 
little Swedish he from days gone by. Definitely 
more straight up metal than some of their fellow 
Swedes but still there's an undercurrent of dirty 
filthy punk, and when they speed up.jesus, your 
chest will cave in. This is COMA's vinyl debut, but 
if these 3 tracks are any indication of what's to 
come, the future is going to be very very bright for 
them. Keep your eyes and ears peeled. (JG) 

Boxed In: s/t 7" (Crime Scene) 

These 8 songs first saw the light of day as a demo a 
few months back, but I'm not at all surprised to see 

them on vinyl so quickly owing to both the hype 
surrounding these guys and the strength of the material. 
BOXED IN are basically the remaining members of 
SAWN OFF with former EBOLA/STF vocalist Nick 
replacing the previous two singers. Whereas SAWN OFF 
were responsible for some of the most dull hard-core 
thrash of the past few years, BOXED IN are a far more 
exciting proposition. Describing themselves as "Poise D- 
Beat", I reckon these guys are basically taking the Britcore 
sound of the mid 80s that was peddled by the likes of 
RIPCORD, HERESY, TERRORAIN ,etc, and kicking it 
straight into the 21st century by adding a bit of a Swedish 
influence (they cover ANTICIMEX on here actually), a bit 
of the current US thrash thing, and some fine thought 
inspiring lyrics (some of which may have been nicked 
from the mighty SABBATH by the way..hint:first song is 
called "World Stops Turning"..). A fine debut sirs. Nice 
layout too. (JG) 

Burn Hollywood Burn “It Shouts and Sings with 
Life. ..Explodes with Love!” (Overcome Records) 
Overcome Records release another top notch record 
following hot on the heels of the amazing Inside Conflict. 
Bum Hollywood Burn however - bar the label and the fact 
they’re French - share precious little else in common with 
Inside Conflict as their approach dishes out some 
staggeringly inventive Refused meets Indecision style 
hardcore action all topped off with a slight swagger 
reminiscent of the International Noise Conspiracy. Formed 
in 2000, BHB blending personal issues with politics in the 
lyrics and seem to be influenced by Crime Inc. and 
Catharsis. They’re passionate, angry but focused, intense, 
emotional and in yer face... the way hardcore should be. 
Interestingly they also collaborate with a professional 
theatre group to do a contemporary stage play entitled 
“Rouge, Noir et Ignorant” (Red, Black and Unaware”). 6 
songs isn’t enough but it makes this an essential purchase. 

xCanaanx “Gehenna Made Flesh” (Ignition) 

Superb quality metal with hardcore attitude from the UK 
straightedgers recorded by the talented John Hannon - 
who seems to record and produce only the very best of UK 
underground acts these days. The riffage is furious and 
heavier than a sack full of donkey balls. The vocals are 
tortured and there’s blast beats strewn everywhere. Whilst, 
heavily influenced by the Belgian, and no doubt US 
scenes, its still head and shoulders above anything I’ve 
heard from either scene in quite some time. Again the UK 
has come up trumps with another powerful metalcore act. 
Technical yet moshy, xCanaanx have the right to establish 
themselves as some force on the strength of this release. 
Believe me when I tell you this is top notch stuff.Fair 
fucks to Ignition for this re-release. I for one am very 
pleased. (TM) 

Champion “Count Our Numbers” (Bridge 9) 

“Count Our Numbers” is Seattle hardcore heroes 
Champion’s second release, which is pretty good going for 
such a relatively new band. Mashing together the likes of 
Ensign, Bane and Over My Dead Body, Champion are 
comfortably at home on the Bridge 9 label, although had 
they been on Indecision Records, they would be just as 
comfortable. Their approach waves the flag for the classic 
hardcore sound, writing the songs with finger pointing, 
pile ons and circle pits in mind and not even a slightest 
hint of metal. The hoarse vocals certainly give them an 

edge I took to, and they do a pretty nifty cover of 
“Is Anybody There?” by Alone in a Crowd as 
one of their six songs. Theres no doubt these 
boys live by the X, but it definitely didn’t make 
any difference to a non-edger like me. The 
artwork and booklet round off a solid release by 
featuring some fantastic pit scenes with some 
kid wearing these big comedy style boxing 
gloves. Deadly stuff. (TM) 

Christiansen “Forensics Brothers and 
Sisters!” (Revelation) 

A most excellent ep from another of Revelations 
most recent signings - (Revelation may not be 
signing classic hardcore bands like they used to 
but they sure are picking up the finest quality 
bands out there at the moment!). Set deep in 
Louisville Kentucky Christiansen bring on the 
Fugazi, Shellac and At The Drive In, influenced 
rock like not other. Theres indie rock, theres 
jazz, theres electronics fuck theres even trumpet 
and piano. The guitar layering is amazing and 
the songs are strong, with “Jhazz Never Spelled 
So Good” rivalling anything ATD-I wrote, while 
“Let Us Now Die Famous Men” is the kind of 
song Walter Schriefels should still be writing for 
Quicksand. Featuring former members of The 
National Acrobat, By the Grace of God, the 
Enkindels, these boys know how to rock and 
deliver 20 mins of art rock without the pretence. 
The thoughts of the full length to come is 
mouth-watering. (TM) 

Cold War “Whorebred and Hellraised” 

If you managed to pick up the Cold War demo, 
and lets face it theres no reason why you 
shouldn’t have, you’ll already be familiar to 
what this Dublin four piece are all about, which 
is metal driven hardcore punk. You’ll also be 
familiar with half the tracks on here as the likes 
of “Cold War” and “Underscum” and a couple 
of others from said demo have been re-recorded 
and reworked to fit nicely in with the new songs. 
And in those new songs the likes of “Obliterate” 
and title track “Whorebred and Hellraised” are 
particularly stand-out-ish mainly due to their 
savage nature and intense axework. The addition 
of Paul on second guitar has positively beefed up 
the sound and enabled the lads to work in some 
punk rock style solos which add yards to the 
songs. Yet again I’ll go with Discharge meets 
Sheer Terror meets Sepultura as a fairly accurate 
reference to what the Cold War sound is like but 
I’ll also throw in a small bit of Crowbar too, 
while the cover of Subhumans “Religious Wars” 
should keep all you old school punkers happy. In 
an Irish underground scene starved of full length 
releases “Whorebred and Hellraised” is simply a 
must have. (TM) 

Crucial Section / Face II To It!: split 7” 

Let's start with FACE UP TO IT! shall we? Yes 
let's, because you need to know about them. 
They're French, they're fast, and they're 
awesome! Fantastic upbeat modern thrash that's 
like the bastard offspring of LARM and 7 
SECONDS (minus the "Woooahs" obviously). 
My 10 year old Britney Spears loving cousin has 
actually just walked in to the room where I'm 
typing as this is on and said "that's really cool!", 
so if she likes it there's hope for us all . Seriously, 
great music here and lyrically it's positive 
without being nauseating, which is a bonus. Oh 
and they mention Dublin in one of the songs too, 
so that gets them even more bonus points. Nice 
raw but crisp production. If you like LIFES 
HALT check this band out. .they're the European 
equivalent in my book. CRUCIAL SECTION I 
can take or leave really, though the production 
on this is better than the disappointing LP on 
625. Mediocre Japanese hardcore that takes 
GAUZE and RIPCORD, mixes them with some 
really bad vocals, and then takes out the energy 

that made those two bands so great. "NR Shit" is a 
pretty good song though, so it's not a total waste. 
Oh, did I mention the sleeve of this folds out into a 
cool poster? I did now. (JG) 

Crucial Unit / Killed In Action: split 7” (Fast for 

Fact: If your record contains lyrics that are 
humourous but still make a point, you have already 
to a degree made a favourable impression on this 
reviewer. However, if one of these sets of lyrics 
takes the piss out of San Diego fashion punks THE 
LOCUST, you've pretty much made a friend for 
life. CRUCIAL UNIT do just this on "DIY not 
EMF". Nice. I've heard a lot about this mob and boy 
was I impressed with these tracks. .CU have what it 
takes to make a great band in my book: a knack for 
writing memorable but vicious powerviolence tunes, 
tons of energy, and a sense of humour that doesn't 
detract from anything or make them look like a 
novelty band (and I mean it, these lyrics are fucking 
hilarious - "In this defiance of the one Urinal rule" 
actually made me laugh so hard coffee came out my 
nose). Comparisons to the late great CHARLES 
BRONSON are inevitable, but CU stand alone I 
reckon. On the flip side, KILLED IN ACTION bust 
out some impressive powerviolence/thrash stuff and 
a PROJECT X cover that's good but unnecessary. 
Again, catchy and again humourous but intelligent 
lyrics, but to be honest after the CU tracks they 
seem a little weak in places. Not a reflection on 
them, just.. y'know.. any band would have problems 
after being matched with CRUCIAL UNIT. KIA do 
admirably considering I reckon. Okay, this label are 
apparently dodgy so try distros for a copy of this.. 

Curl lip And Die “Unfortunately We’re Not 
Robots” (Revelation) 

I certainly wasn’t expecting this, especially when I 
saw the indie rock heads on the lads in the 
accompanying press release. But as they say, don’t 
judge a book by its cover because Curl Up And Die 
are a million miles away from barely strummed 
guitars, whiny vocals, stupid accents, ridiculous 
catch phrases and Fred Perry t-shirts. Instead they're 
a jackhammer of vicious over the top growls, 
uncontrollable riffing, deadly fretwork and an 
overdose of adrenaline fueled technical metal 
shrouded in chaotic noise-core. They obviously 
bring to mind Dillinger Escape Plan, Converge and 
Drowningman, you know the kind of stuff you’d 
find on Relapse or HydraHead Records, but 
undoubtedly are an original band in their own right 
and this record is overflowing with ideas. The 
production on this is top notch. The opening 4 
“tracks” each last no more than 2 seconds, with the 
line “We Are All Dead” being quartered to make 4 
individual tracks. Still with me? No? Good. 
Anyway, the song titles alone are enough to make 
you want to buy this record. Heres some of the little 
beauties : “Kissing You Is Like Licking An 

Ashtray”, “Ted Nugent Goes AOL”, and “Make 
Like A Computer And Get With The Program”! 
Another quality release from Revelation Records, 
even if it kind of strays from what you’d expect 
from them. (TM) 

Dag Nasty “Minority of One” (Revelation 

Dag Nasty are back! And what a return it is too. The 
legendary Dischord Records band responsible for 
the classic “Can I Say” and “Wig Out At Denkos” 
albums, serve up their first release in over a decade 
which completely pisses all over any similar style 
band of today. Welding punk rock to a barrage of 
melody and emotion comes second nature when 
you’ve got legends such as Dave Smalley (All, 
Down By Law) and Brian Baker (Bad Religion, 
Minor Threat) in your ranks, but Dag Nasty go 
beyond what’s required to reiterate their true staying 
power and amazing ear for a tune as they blend the 
old school with the new. Whether it be the up tempo 
“Throwing Darts”, the winding creepiness of 
“Broken Days” or my favourite song “Average 

Man”, the balls out rock pivoting around the stick in the 
head chorus will have you singing for days not to mention 
air guitaring like a mad thing. This record is an amazing 
result and proof, if proof was ever needed, that old dogs 
can deliver new tricks! Breathtaking stuff. (TM) 

Dan Dare “Define It, Defeat It” (In At The Deep End) 
Formed in 1989 in Holland, Dan Dare have served their 
time. A four piece hardcore punk band ala Suicidal 
Tendencies, Dead Kennedys, Minor Threat, DRI, MDC 
and Sick Of It All, they play hard and fast. While its 
nothing overly new or inventive its passion speaks 
volumes and shoves them ahead of many similar type 
bands I’ve heard in the last while. (TM) 

Dead Inside “No. 4” (Firefly) 

If theres two bands I’ve heard Dead Inside compared to the 
most it’s been Born Against and Black Flag. And finally 
after hearing “No.4” I can confirm that those comparisons 
are spot on. Previous Dead Inside records have been pretty 
illusive to track down (postal orders and numerous record 
shop searches bared unfruitful) so it was to my delight that 
the Fig 4.0 boys were carrying this in their distro at a very 
reasonable price considering the current crazy exchange 
rate between Euro and Pound Sterling. Theres heaps of 
Dischord/Fugazi-isms buried beneath the punk rock thrash 
with the intricate post hardcore guitar work being very 
impressive considering its being assaulted by the over the 
top, 10 packs a day screaming from Bloody Kev. John 
Hannons production work is a dream as always. I’d really 
like to catch this band live where I’d imagine they are 
incendiary. Artwork courtesy of Jason Farrell of Bluetip 
fame only reinforces the class of this record. (TM) 

Dillinger Four “Versus God” (Golf) 

Golf Records do everyone a favour and re-issue this classic 
second album by the soon to be huge Dillinger 4. And we 
must all hail the much revered Dillinger Four for they are a 
truly wonderful beast. When the likes of Fracture zine (to 
name but one of hundreds...) go apeshit over you then you 
know you’re dealing with something special. It’s a rare 
thing to hear punk rock so intense and sincere these days, 
so much so I’m at a loss for words everytime I stick this cd 
on. All the great things about Rocket from the Crypt and 
Down By Law with hints of Leatherface and the urgency 
of a million punk bands. Dillinger Four have something 
very special. “Let Them Eat Thomas Paine” is a truly 
wonderful song... ah fuck it, every song on this is a 
wonderful song. One of the strongest punk rock albums in 
years. Now if they’d only haul their arses over here to 
Ireland for a few gigs wouldn’t life be sweet. (TM) 

Dillinger Four “Situationist Comedy” (Fat Wreck) 

Boy oh boy, was I over the moon when this little beauty 
showed itself beneath some Fat Wreck packaging. 
Following hot on the heels of the “Versus God” re-issue by 
Golf Records, Dillinger Four are back with another slab of 
brilliance. Its balls out punk rock with soft melodies versus 
gruff harsh vocals capped off with a Ramones 1, 2, 3 go! 
feel. If I started a punk rock band today I would do my 
damn best to be as passionate and as in your face as this 
mob. How great is “D-4 = Putting the “F” back in “Art””, 
buy the album and find out. As I said in the “Versus God” 
review, they seriously need to haul their arses over here for 
a few gigs and some serious drinking. Easily one of the 
best bands to emerge in recent years, “Have guitars will 
rock the house down” is obviously the bumper sticker on 
their tour van. Go out and kill for their records now! (TM) 

With a production that simply pisses all over the debut 
“Nothing to Regret” record, Freebase bounce back as 
heavy and aggressive than ever. “My Life, My Rules” 
takes them to another level with 12 tracks of heavyweight 
hardcore which throws forward equal amounts from the 
old school and new metalcore sounds. Touring with the 
likes of Inside Conflict, Cro-Mags and Rabies Caste has 
certainly rubbed off in a great way on the band. Straight 
from the off, something like say... the sound of the drums, 
jumps out and grabs you by the ear and its easily the first 
improvement to notice. The addition of new drummer Paul 
(ex- 3 rd Stone) is the driving force behind it all as theres a 
wicked display of drumming on offer from pounding 
pummeling double bass to slick drum roll type beats. And 
while the drums are heavy, the guitars are equally as heavy 
but with a superb groovy belly underneath the fierce 
chugging riffage. Stand out tracks come in the form of 
“Stay Away From Me!”, “Respect 2002”and “Weakness of 
Thought”. For any of you out there unwashed in the way 
of the exploding Freebase : try Madball rucking with 
Napalm Death or the speed of classic Sick Of It All meets 
the heaviness of Stampin’ Ground as comparisons to get 
you to wake up smell the coffee, stand to attention and set 
about your business in getting this cd into your player. 

Disrespect “Hit The Ceiling” (Hardboiled) 
Germany’s Disrespect bring on the hardcore 
thick, fast and heavy. A downtuned guitar 
opening had me worried that they may have 
been some nu-metal bollocks on this but 
thankfully no. The likes of Hatebreed, Madball 
and Stampin’ Ground is where this band gets 
their kicks and boy are they down with the 
mosh, kickbox and beatdown. The vocals are 
impressive, the singers throat must be torn to 
shreds when they play live. Instrument wise the 
guitars opt for the chugga chugga riffage while 
the drumming is speedy and straight forward. 
The music is decent but the highlight for me is 
the name of the drummer : Boris Langer! I 
wonder is he anything to Bernard? (TM) 

Dogshit Sandwich / The Dangerfields split 7 
inch (Weird) 

Dogshit open their account with a great sample 
from The Commitments of Colin Meaney asking 
“Is this the band? I bet U2 are shitting 
themselves”. Then they bring on the GBH and 
Exploited punk rock sounds. 2 of their 3 songs 
are originals while on the third song they opt to 
cover “Judge, Jury Executioner” by Runnin Riot 
and do a good job of it too. The Dangerfields too 
have three songs all featuring the now departed 
Cormak on vocals, who’s vocals are as 
demented as the man himself. Live favourite 
“Fucking Up” sounds great and I still think they 
sounds like a cross between Runnin Riot and 
The Vandals. Its all over in a flash so if you like 
you’re punk rock to be a short sharp shock then 
look no further than this fine seven inches of 
vinyl. (TM) 

Down By Law “PunkRockDays - The Best of 
DBL” (Epitaph) 

A couple of years ago I listened to Down By 
Law constantly. Aside from enjoying their 
earlier efforts, “Punkrockacademyfightsong” 
was an amazing punk rock album that fell into 
my lap and got played to death. So it was with 
great pleasure and excitement that I received this 
disc showcasing DBL’s offerings over their 5 
record history - even though I didn’t know it 
was being put together. So anyway, anyone 
loosely associated with punk will know the 
name Dave Smalley = Genius and the lad has 
constantly written great stuff whether it be in his 
stints with DYS, Dag Nasty and All or within 
the tight melodic punk rock that Down By Law 
seem to record with ease. The new flock of 
Epitaph- kids need to get this for its sheer punk 
rock education value. The songs on here have 
been selected by fans who voted on the bands 
own website and stem from the bands formation 
in 1990 right up to a cover of Big County’s “In 
A Big County” which they recorded just last 
year. All of my faves are on here : Independence 
Day, Flower Tattoo, Hot Or Miss, Last Birgade 
etc., Utterly fantastic punk rock. 

Fall Silent “Drunken Violence” (Revelation) 
Smack. A pillow case holding 10 bars of soap to 
the face. Yep that’s what Fall Silent feel like. 
Try listening to these fuckers with a hangover 

and you’ll kill yourself such is the punch they pack. 
Straight from the creepy rifftastic intro to the bloody 
end you get a whirlwind of thrashy Slayer riffage 
- and the Black Flag jneets Pantera vocal attack of 
Levi Watson. The poor drums get the shit beaten out 
of them as the pace rarely lets up except for the odd 
mosh breakdown. One of the highlighs are the 
lyrics, targets are identified and attacked, like “The 
Fist Seven Inch Club” which is a stinging “fuck 
you” to kids more interested in collecting rare and 
coloured vinyl than coming out to shows. Indeed the 
previous is a classic example of the honesty and 
balls this band has to actually stand up, stand 
against, speak out of turn and have something valid 
to say. The artwork as with most Reveation releases 
is pretty cool too. (TM) 

Face To Face “Everything Is Everything” (Kung 

I’ve never really had anything more than a passing 
interest in Face to Face to be honest. I remember 
picking up a cd or two of theirs on the cheap in the 
States one summer but they did little to start a Face 
To Face fanclub at 46 Rosturra Crescent. Here 
Kung Fu Records serve up a collection of various 
tracks (24 in all) and the videos to “Disconnected”, 
“Debt”, “I Wont Lie Down” and “I’m Trying” on a 
bonus DVD - which I couldn’t get to work. There 
are three really great songs on this in the form of “I 
Won’t Lie Down”, “Blind” and “Overcome” and a 
cover of The Jams “That’s Entertainment” is 
included, which never strays from the original but is 
competent nonetheless. Face to Face fans should eat 
this whole. I hpe some other labels decide to release 
a package like this of a band I’d be more into. (TM) 

Fig 4.0 “Action Image Exchange” (Bombed Out) 
Compared to What Happens Next? meets Strike 
Anywhere or Spazz meets Refused, Leeds based Fig 
4.0 are possibly the most impressive hardcore/punk 
band from the UK since the great Imbalance called 
it a day. Swinging from blast beats and over the top 
screaming to melodic emotional punk in a blink of 
an eye, comes with ease and the fluidity of this 
record is quite staggering. The lyrics are interesting 
with the words of “Your Wisdom, Our Youth” - a 
rallying cry to both old and new punks and hardcore 
kids to mix and unite and stregthen the scene 
instead of bickering amongst themselves -being 
particulary eyecatching. “Start Tomorrow” carries a 
great line - “why kickstart a stagnating scene when 
its easier to just take the piss?”. They sure have a lot 
to say and the vehicle they choose to convery their 
message makes this essential listening. 17 tracks 
under 20 minutes = punk rock. A few months ago in 
Limerick they pulled it all off live quite superbly. 
Great band. (TM) 

Flogging Molly “Drunken Lullabies” (Side One 

Exiled Dubliner Dave King and his Flogging Molly 
troops return with a new record that’s fantastic 
when you’re in the mood to sing along. Being more 
Blood or Whiskey than Dropkick Murphys in that 
its more trad than punk and owing a fair share to 
Shane McGowan and The Pogues, the band that 
formed in Molly Malones Irish bar in Los Angeles, 
compose some wonderful lyrics and music to go 
with the trials and tribulations of life. Recorded by 
Steve Albini, theres only two moments where the 
band lose the plot, those being the lacklustre jiggery 
pokery of “Swagger” and “Cruel Mistress”. But 
with the dirgy brilliance of “Death Valley Queen” 
and the Egyptian meets Irish rhythms of “Another 
Bag of Bricks” the band redeem themselves and 
expose King for the truly powerful and 
accomplished vocalist that he is which can also be 
heard of the acoustic brilliance of “If I Ever Leave 
This World Alive”. The cd ends with the funeral 
march beat of “The Sun Never Shines (On Closed 
Doors)” , essentially an outlook on death but with a 
refreshing message of hope. (TM) 

Freebase “My Life, My Rules” 

Garlic “The Murky World of Seats” (Bella Union) 
Comparisons to Pavement, Grandaddy, Neil Young and 
Lou Reed are spot on. Its laid back Americana vibes and 
quirky indie all round. The lead vocalist sounds like how a 
concoction of all the aforementioned bands / singers who 
sound. It’s a very chilled out record and one to file under 
easy listening the type of record you might want to put on 
the morning after a late night out. The title of the record is 
dodgy... whats that all about. The cover is even dodgier. 
You wanna hear something different, or take a break from 
loud guitars and screaming vocalists?... look no further. 

Gatecrashers / Idol Punch split 7" (xMoshstachex) 

What a great name for a label! Right, GATECRASHERS: 
prefer these tracks to their split with DOWN IN FLAMES 
I must say. 4 tracks of POISON IDEA meets Boston 
thrash. Fine stuff. IDOL PUNCH: Fuck me, what a great 
band!! Hyperactive melodic Japanese hardcore with 
imagination, melody, velocity and great musicianship all in 
equal measures. Should be a lot better known than they 
actually are, to the point where if I had the money to start a 
label the first thing I would do is put out a record by them. 
Don't miss out on this band, seriously, their stuff is hard to 
find but worth the effort! (These IP tracks are apparently 
originally from the "Hello Fuck Sorry!" 7" from 97..?!?) 

G.B.H “Ha Ha” (Go Kart) 

Formed in Birmingham in 1979 as Charged G.B.H, before 
dropping the Charged part of their name its amazing to 
think in the year 2002, they’ve just released a brand new 
record. Despite not being the biggest GBH fan to be 
honest, I still recognised the classic value of “City Baby 
Attacked by Rats” and do indeed own a copy of named 
record. So how does “Ha Ha” compare. Well its more or 
less the same formula really: 80’s UK sound meets the 
sund of their American contemporaies, like say Agnostic 
Front. You definietly get to hear a bit of Rancid in there 
too - no doubt to entice the younger generation to 
purchase this 17 song collection. It’s a solid enough 
release of distorted hardcore punk rock. (TM) 

Godstomper / Hewhocorrupts: split 7" (Blind Date) 

I've heard some good stuff by GODSTOMPER before, I'm 
sure of it. These tracks, however, are crap. Look, can I just 
make an appeal to bands, here and now: NEVER COVER 
HEAR ME!!?? I've never heard a good cover of it (and I've 
heard many, I assure you), and GS's is the worst yet (even 
worse than MORTICIAN'S). The other tracks are 
essentially the first SPAZZ 7" with no guitars: very basic 

Gash “A Day Off for the Conscience” (Golf) 

Gash from the UK play power pop punk with a dash of 
Nofx. Its very average and I really couldn’t get into it. 
Younger kids into the whole pop punk thing will probably 
dig them and maybe live the could have a better effect on 
me. I really got nothing from this. (TM) 

powerviolence with some truly shite distorted 
vocals. Appreciate the anti emo stance though. 
Thank the dark lord for HEWHOCORRUPTS, 
who truly kick out the jams on this record. Low 
tuned and explosive bursts of punishing machine 
gun grindcore, with the occasional appearance of 
what appears to be some bizarre Korn style slap 
bass!! Imagine if SUFFOCATION had been a 
punk band. Ex-KUNG FU RICK 1 gather. That 
makes sense, as this is like KFR's early stuff. 
Song title of the record: "One block east, two 
blocks up your ass". A mixed bag then? Yes. 
Yes indeed, ( (JG) 

Gravy Train: "The Menz EP" mcd (S.P.A.M) 
Okay, just before i sat down to type this I heard 
the next release from these kids is gonna be a 
split release between Kill Rock Stars and Def 
Jam!! GRAVY TRAIN are, in their own words 
"The Bitches of 80's rap". Chunx, Funx, Drunx 
and token bloke Hunx serve up four songs of 
incredibly badly recorded shitty casio 
keyboard/drum machine rap that reminds me of 
a time before rappers realised that rythym and 
timing were important (think "Cookie Puss" era 
BEASTIE BOYS). The lyrics are absolute filth 
as well, delivered in a horrible "girly girl" voice 
that sounds like a 14 year old. Jesus, this 
is . actually really really enjoyable! Seriously, 
GT are so over the top and cheesy, not to 
mention downright funny that it’s hard not to be 
won over by them. I dare anyone to listen to 
"You Made Me Gay" and not piss themselves 
laughing. Sure, this is hardly going to appeal to 
the crustier than thou brigade but if you have an 
even slightly open mind check this out for some 
no fi rap thrillz. Sing along., "long in the neck, 
short in the wiener / Suckin' my muff like a 
vacuum cleaner".. (JG) 

Guttermouth “Gusto" (Epitaph) 

Guttermouth are back with their second effort 
for Epitaph. Its all very poppy punk with 
electronic influences, crammed with toilet 
humour and immature lyrics - check “Pee In 
The Shower”. Yeah, how amusing eh? The title 
track “Gusto” is pure country and western, while 
throughout you get the feeling they’re a mix of 
The Beach Boys, Bloodhound Gang and The 
Vandals. They’re the self confessed party pop 
punkers and who are we to argue. In fact do we 
even care? Schoolboy humour aside the music 
ain’t half bad. (TM) 

Hatcbrecd “Perseverance" (some major 

For every bit of influence the US hardcore scene 
both past and present has had on Hatebreed, you 
can be sure playing with the likes of Slayer, 
Machine Head and Sepultura has had just as 
much input into their sound. The guitars are 
metal-tastic, chugging and rifting relentlessly 
over every track, while the drums serve up some 
superbly pounding rhythms guaranteed to get the 
mosh pit hopping. Nonetheless at 17 songs, with 
little variation, it tends to get a little 
cumbersome to listen the whole way through, as 
it fails to match the staying power of the short 
sharp shock that was “Satisfaction Is The Death 
of Desire”. (Because of this I’ve found that 
listening to a quick blast of four or five songs at 
a time to be far more rewarding). Hatebreed 
carry the gang vocal as fine and as passionate as 
anyone and it all just adds to the ferocity this 
band have in abundance. “I Will Be Heard” is 
the stand out track; for its rallying cry alone. 
Right now Hatebreed have the crossover appeal 
of someone like say Downset, what they do with 
it and what direction they’ll take is certainly 
their own fate. The next album will be very 
interesting to hear but hopefully it doesn’t take 
as long to come out as this one did. (TM) 

Haymaker “s/t” CD (Deranged) 

Fuck me this is just what I needed! 28 tracks of 
seething rage, bile, frustration and unadulterated 
rage from the "Hamilton Mayhem" masters here. 
HAYMAKER are not the fastest or heaviest band 
you'll ever hear (well, okay, they are heavy as fuck 
actually), but I'm willing to bet that they are one of 
the most aggressive and negative sounding bands in 
hardcore. So obviously, they're just up my alley 
then. The 7" you will have read about in these pages 
last time, the live show has already become 
legendary, the sound is THE SWARM being 
battered to death by POISON IDEA, and the 
artwork is one of the better pieces of Pushead 
artwork I've seen recently. This band hate everyone, 
including hardcore "scenesters", the man, the church 
(boy, do the religious types get a going over on this 
one),and - most importantly- you. This record is the 
soundtrack to my life right now, and has literally 
prevented me from completely flipping and beating 
the shit out of someone at least once. Hardcore for 
the fucking hardcore! (JG) 

Helvis “Reverence The Sacrifice" (Loudspeaker) 
Helvis (great name by the way!), feature members 
of bands such as (deep breath...) Iron Monkey, 
Hard To Swallow, Dead Inside, Consumed and 
Cerebral Fix (phew!). With talent like that onboard, 
this cd should sell by the bucket load before the 
record buying public even get to hear the huge 
Black Sabbath/ Iron Monkey riffs this recording 
rolls out. The pace of the album is fast and thrashy 
ala “Fifteen Sticks” but they slow things down a bit 
from time to time especially on the dirge “Snail 
Speech”. The vocals are mad and come courtesy of 
UK underground scene maniac Bloody Kev - (He’s 
a right scary looking bastard and acts the spa on the 
vox from time to time!) while the guitars are sludgy 
while still calling to mind the more rock n roll side 
of Entombed. So overall Helvis take some hardcore, 
death and black metal, some fierce 80’s punk ala 
Black Flag and Discharge, a drop of garage punk 
and a smidgin of stoner rock to concoct this multi- 
genre crossover masterpiece. (TM) 

Hot Water Music “Caution" (Epitaph) 

Kicking out the jams in Gainsville, Florida since 
1994,Hot Water Music are always gutsy, honest, 
raw and hard hitting. Combining the best elements 
of Fugazi and Leatherface theres no doubt this band 
are very special. The guitars cut through the 
speakers, but its the twin vocals that make this band 
for me, especially the “15 packs a day” tones. 
Something I hadn’t picked up in HWM before was a 
Social Distortion feel, which came to the fore in the 
heartfelt “Alright For Now”. As a follow up to “A 
Flight and a Crash” its exactly the right steps they 
could have taken. With Brian McTernan handling 
production, quality is assured and it all adds up to a 
fantastic rockin melodic hardcore album. Question 
is: When are they going to come to Ireland? (TM) 

Incoherence “A World Without Heroes" 

From Iceburn to Ensign to Undying to BoySetsFire, 
UK characters Incoherence have the know how to 
mix up a bag of styles and concoct a refreshing and 
original sound. And to their credit, they know how 
to do it very well indeed. With the aforementioned 
influences you can see you’ll get bits of straight up 

hardcore, metalcore, death metal, jazzcore, melodic emo 
punk, rock... hell you’ll even hear handclaps in there. The 
melodic vocals have a Ray Cappo feel to them with the 
American type accent slightly spoiling the originality of 
this release - something no doubt they can easily work on 
and improve, while the gruff vocals add a Converge edge. 
I’m taking it that this is their first proper release so with 
that in mind theres definitely the potential for something 
great bubbling here. Definitely worth getting if you like 
your music to be interesting, refreshing and challenging. 

In Decades Decline “Duneideann" (LawGiver Records) 
Fuck it, I had to buy this cd on the strength of their 
performance in Limerick as part of their recent Irish tour 
with fellow Scots Divide. That quiet Thursday night, they 
were explosive, angry, political, heavy and tighter than the 
proverbial ducks arse in water despite the small crowd. 
Their eagerness and “just get on with the jobs” handling on 
the poor turnout situation deserved high admiration, so as I 
said previous, the purchase of their cd is a must. So how 
do they fare on the studio recording as opposed to the live 
offering? Not bad at all really - with only the force of the 
live delivery wavering a little as the music overloads with 
metal solos, a variety of vocal styles, inventive pieces, 
some crust punk influence & lyrics that gave me a political 
and social education awakening. It’s heavy on the metal 
(no pun intended) but has more than enough savvy and 
intelligence to appeal to punkers and hardcore kids too. All 
in all - a cd worth getting (Only A Promise Distro in 
Belfast has some) and if you missed them live - tough shit. 

Isis “SGNL>05" (Neurot) 

A continuation record from the crushing “Celestial” 
recordings released on Neurot Recordings (which is run by 
members of Neurosis). And its in Neurosis’ back catalogue 
that Isis gains inspiration to construct and demolish such 
wonderful songs. Theres a big chunk of Godflesh in there 
too, with Justin Broadrick turning in a creepy remix of 
“Celestial (Signal Fills The Void)” to end the cd. Isis are a 
buzz band right now and rightfully so. Do yourself a 
favour and hitch a ride on their bandwagon. The next full 
length “Oceanic” is imminent of Mike Patton’s Ipecac 
label. It should be monstrous going b the song “Carry” 
which I heard recently. (TM) 

Jilted "Follia Omicida" 7" (Angry) 

Jilted are the kind of band I hate reviewing, because they're 
not awful, they're not great, they’re not really..anything. As 
I listen to it now I can tell you dear reader that JILTED 
play relatively pleasant, slightly crusty sounding Italian 
hardcore with rasping vocals and a NEGATIVE 
APPROACH cover. Not amazingly fast, but no slouches. 
Not particularly original, but I can't think of exactly who 
they sound like. Problem is though, once the record ends, I 
cannot remember a single note of what I have just heard. 
Umm... let's just say generic hardcore from Italy then, shall 
we? (JG) 

Kaospilot "For your Safety" 7"(Last Effort) 

Grr! This says "45" and it's a 33!! Minus ten punk points 
straight away. Now, I'm not sure what "Kaospilot" means, 
but I think it might be Norwegian for "ORCHID", because 
these kids from the frozen north really do sound similar to 
them in places, vocally in particular. They're not a 
complete rip off however, as they tend to go more for a 
slower more structured take on the 
ORCHID/HONEYWELL style of chaotic, trouser wettin' 
artyfartycore. They also just know when to ROCK 
OUT!(tm) which is nice - witness opener "A False 
Hollywood Promise" for an example of them at their best 
in the balls out rawk stakes. I think, on the negative side, 
it's the more meandering and mid-paced approach they 
take in places throughout this 7" that make this merely a 
good record where it could be a great one. Still, given time 
I reckon great things could come from this band, because 
this lays some pretty solid groundwork. I bet they slay live. 
Wow, I didn't make any references to MAYHEM or 
DARKTHRONE. Ah shite, I just did (JG) 

Kontrovers S/T Ip (Putrid Filth Conspiracy) 

Okay, what is in the water supply in Sweden? Seriously? 
As if recent releases by SKITSYSTEM, VICTIMS and 
ACURSED weren't solid enough, along come 

KONTROVERS to deliver more fantastic 
Swedish death metal influenced hardcore. This 
new sound the Swedes are coming out with is so 
fresh in a time where everyone and their mother 
wants to either be HIS HERO IS GONE , 
Scandinavians are mixing death metal heaviness 
and guitar tones to the hardcore song structure 
and intensity to create some thing new. 
KONTROVERS here have the heaviness in 
abundance, with the kind of guitar sound that 
reminds me of CARNAGE but the songs are 
pure hardcore power with the occasional blast 
beat or crust influence thrown in. Male/female 
vocals, cool artwork, and lyrics in both Swedish 
and English here, and enough variety and 
originality to keep your attention for the length 
of the whole album, there's also a pretty cool 
instrumental track that's layered over with 
samples from what I think is "Evil Dead". 
Investigate now. (JG) 

Kid Blunt “’82” (Mad Dog LaBelle) 

The best melodic punk rock outfit in Ireland 
right now, period! Blending tight musicianship 
and great vocals to the skater punk sound often 
found in California, Kid Blunt have served up a 
stormer of a cd. The vocal melody and harmony 
here is very impressive and defies the bands 
youthful age. Indeed the lyrics are quite well 
written and intelligent too. 1 guess comparison 
wise they fall into the Epitaph/ Fat Wreck style 
of band, however they certainly have more in 
common with bands like Avail, Nofx, Bad 
Religion and Hot Water Music than they do to 
the likes of say No Use For A Name and 
Guttermouth. The only minor gripes I would 
have with “’82” would be the slight biscuit tin 
drum sound and the half arsed artwork and 
booklet. Still minor gripes as I said and I’d love 
to see what these lads would do if they had the 
backing of say Epitaph to record a full album. 
Very impressive live too, so do yourself a 
favour, check out this cd and check them out live 
while you’re at it. (TM) Kid Blunt c/o Turlough 
Fortune, Cayuga Main St., Kilcolle. Co. 
Wicklow, Ireland. 

Knut “s/t” (Hydra Head) 

Switzerland’s Knut are one cool band. Steeped 
in a Neurosis vibe and heaviness, they also 
display the whole Hydra Head band influence 
and keep in step with Isis, Botch and Keelhaul. 
They’ve got a new full length out right now 
called “Challenger” which I’ll be checking out 
asap! If you’re into challenging heavy music 
then look no further than Knut. (TM) 

Lady Luck “Life In Between” (Lucky Seven 

Lady Luck is the brainchild of Denise Miret, 
wife of Agnostic Fronts Roger Miret. Here 
Denise handles the vocals, while Roger plays 
bass. Its certainly not what you would expect 
from Roger Miret, as on a whole it’s a very laid 
back affair switching between upbeat emo to 
pop punk to indie. Its light on the punk side of 
things but highly enjoyable none the less. 
Denise’s vocals are great, you’re talking 
Blondie, Baby Gopal and The Sundays for 
comparisons. Top songs include the hypnotic 
“Faceless”, “Summer Song” and “Lucky Day”. 
A refreshing break from all things heavy and 
fast, I like this record big time. (TM) 

Lovejunk “Vodatumour Blues” (In At The 
Deep End Records) 

This reminds me a lot of bands from the 90’s, 
who had a melodic punk sound musically but the 
vocals were knee deep in indie, bands like 
MegaCity4 and Senseless Things. Lovejunk 
have that same melodic punk sound topped off 
with those indie style vocals but it comes 
together far better than either of the two bands I 

previously mentioned. What you get on this five 
track ep are four really good originals and a 
lacklustre cover of Tom Petty’s “Walls”. I certainly 
hear bits of Dinosaur Jr. in there alongside some 
Husker Du influence. To be honest its more of as 
retro sound that they’ve got going, but if you’re sick 
to the back teeth of the polished EpiFat stuff you’ll 
take enjoyment from this fine ep. (TM) 

Madcap “East to West” (Side One Dummy) 

The second album from the LA punkers is a brilliant 
sing-along treat for fans of Rancid, S.L.F, the 
Bouncing Souls and Dropkick Murphys. But 
comparisons don’t stop there as “Hometown” 
recalls the storytelling writing style of the US 
Bombs, “New Age” is constructed around The Jam 
type riffs and hell theres even some rockabilly on 
“Midnight Thoughts”. The lyrics are pretty straight 
forward, opting more to rhyme the words to 
structure the sing along chorus with ease. A new 
band to me, but they sure got plenty of spins at UFC 
HQ since its arrival. (TM) 

Madflower “Car Crash Spectacle” (Toddler 

Okay shite band name aside, Madflower are very 
impressive. They certainly have an At The Drive In 
influence, but you’ll also find bits of Soundgarden, 
The Redneck Manifesto and even Radiohead. It’s a 
mixed bag for sure and the band sure doesn’t wilt 
when it comes to experimentation. For example the 
opening track poses as an emo meander, 
demonstrating a good control and use of quiet 
versus noise, while elsewhere you’ll find keyboards 
and samplers. I certainly get the impressions the 
band are out to write an epic every time such is the 
amount of explosions and build ups the songs 
contain. An interesting listen and a band who could 
hit the big time is their progression is right. (TM) 

Man In Shackles / Sewn Shut split 7" (Putrid 
Filth Conspiracy) 

MIS here deliver some fine INFEST influenced 
thrash action. Every scene has a band like this, 
(Ireland's equivalent I guess being SCIENTIFIC 
BONG), it's a sound we all know and some of us 
love. No frills, nothing particularly outstanding 
about them, but when the needle hits the groove, 
they hit home hard and fast. SEWN SHUT win this 
particular tag team bout however with some nasty 
down tuned grindcore of the DEAD INFECTION / 
NASUM variety. Fast becoming a favourite around 
the Grimes house are these lads. You like it fast? 
You like it heavy? You’ll like this record. (JG) 

MDC “Now More Than Ever” (Rhythm Vicar) 

A Millions of Dead Cops anthology spanning from 
1980 to 2000. A recoord like this is always a really 
cool thing to get when you’ve either a) always had 
an interst in a band but never heard more than a few 
songs/ one album by the band or b) just recently got 
into / discovered the band. I certainly fall into the a) 
category of only hearing a handful of songs from 
time to time by Millions Of Dead Cops so I was 
pretty happy when this arrived for review. So a 
twenty year span requires 30 tracks and houses the 
classic “John Wayne Was A Nazi”, “Henry 
Kissmyassinger”, “My Dog Has No Girlfriend” and 
“Nazis Shouldn’t Drive”. MDC are one of the most 
outspoken and influencial punk bands ever - even 
though they might have been a little overshadowed 
by the likes of Black Flag, Minor Threat, Dead 
Kennedys etc., they certainly made their mark with 
their lyrics. This collection rams that home. (TM) 

MDC “Hey Cop If I Had A Face Like Yours” 
(Rhythm Vicar) 

This re-issue of MDC’s “Hey Cop If I Had A Face 
Like Yours” arrived with the “Now More Than 
Ever” discography. I went for the anthology first 
and relaly neglected this record considering some fo 
the tracks on here make the cut on the anthology. 
And lets face it, bands put their best material on 
those compilations, so you get a nicely weeded out 
collection of greatest hits. Even though this actually 

features Matt Freeman of Rancid fame on bass I foud it 
atough listen after the anthology. This is for the MDC fan 
who has the orginal on vinyl and has worn it thin or 
scratched it up. (TM) 

Mr. Zippy “What You Are Like... Says A Lot About 
The Kind of Person You Are” (Golf) 

Jees, if there’s one thing that really stuck out in the 
reviews for this issue it was how many shit band names 
there was this time round. I mean Mr. Zippy, Mr. Fuckin 
Zippy, for fucks sake... Ah well, calm down and onto the 
music and what you get is some melodic hardcore/ punk 
rock ala H20, Down By Law etc., with plenty of Green 
Day pop punk. But alas the American bands I just 
mentioned do it so much better. The production is too over 
the top in whats adds up to be fairly average stuff. Theres 
far better punk rock acts around the UK than this. (TM) 

Narcosis "Heart Slows Down" lp (Balowski) 

Ngah! Just heard this today and I'm rushing to review it 
because I think you all should know about it! Err, I know 
it's really cheeky to review something you've only heard 
once, but on first listen NARCOSIS have totally won me 
over with their experimental grindcore. All I know about 
these guys is that this is their debut album, they're English 
and they feature Pete (ex UNDERCLASS/HARD TO 
SWALLOW) on vocals. Definitely in the more "out there" 
grind region rather than just pounding riffs and blastbeats, 
it's always good to hear a band take risks with the sound. 
Narcosis definitely push the boundaries of the genre in a 
couple of ways, primarily in terms of song structure and 
their unashamed use of melody in some of the guitar 
playing here. Songs like "X marks the Shit" and "Whore's 
eye" twist and turn, dragging you through the unexpected 
at insane velocities. Stand out track for me on first listen is 
the delightfully named "50% sheep, 50% leech, 100% 
"Need to Control" or HARD TO SWALLOW have any 
space in your record collection, NARCOSIS will need to 
be in there too. An excellent debut. (JG) 

Nasum / Skitsystem: split 7" (No Tolerance records) 

A "blink and you'll miss it" split release from two of 
Sweden's most finely honed killing machines here. I think 
this is actually already sold out, so you may have to trawl 
distro lists to find a copy, but if you can I assure you it'll 
be it's own reward once you hear this gem. First up two 
new tracks from the mighty SKITSYSTEM, which both 
crush in a similar way to the recent album (reviewed 
below), before NASUM slit your throat on the flipside 
with sheer velocity and venom. The NASUM tracks are 
actually a bit more "hardcore" sounding here than recent 
release. A particularly enjoyable pummelling from this 
two pronged Swedish attack..sell a kidney for a copy of 
this! (JG) 

Pitch Black “s/t” (Revelation) 

Northern Californian horror punk rockers, Pitch Black 
feature guitarist/vocalist Kevin Cross from the sadly now 
departed The Nerve Agents. Theres certainly an AFI vibe, 
almost instantly the cover gave me that idea - but the 
music is along the same lines too. Theres also a savage 
chunk of the LA punk sound of old in there, kind of a 
TSOL thing going on and theres plenty of eerie keyboard 
action. Its competent, if a little too samey the whole way 
through and it lacks the edge AFI or indeed The Nerve 
Agents have/had in great quantity. “Half Empty” is a 
pretty neat song though, with its staggered vocal effects, 
although the keyboards on “Resting Place” bring Scooby 

Doo or The Munsters more to mind. The live 
shows are supposed to be an experience; a full 
on horror / pyrotechnic show. If you vant get 
enough of the Misfits / AFI dark side of punk - 
thses guys should satisfy your thirst. (TM) 

Pitchshifter “PSl” (Sanctuary) 

At a house party, a few years ago, I met Trevor 
who was wearing a Pitchshifter t-shirt. Every 
male there was wearing the similar attire. It did 
make me wonder about his sexuality but 
apparently, they were at a Pitchshifter concert 
where the music had subliminally hynoptised 
them into buying the same t-shirts. 1 don’t know 
why they decided to wear them together, male 
bonding perhaps! After a bit of moshing, I was 
converted and even though my taste has changed 
since ( I’m more into hip hop at the moment) 
Pitchshifter is one band that l have not lost 
interest in. Maybe because with each album, 
they push their boundaries that bit further and 
continue to help form an evolutionary process of 
rock music. Also, they are still mixing hip hop 
beats with punk, metal, dance and drum n’bass, 
almost like a heavier and harder version of 
Prodigy at times. There’s lots of energy and you 
can almost feel the excitement of the band who 
have obviously gone along with their instincts 
and mixed the best parts of their last two records 
but brought it one step further. 1 really like the 
first song “Stop Talking So Loud”, which starts 
out with chilled vocals over hip hop groovy 
beats but quickly explodes into challenging loud 
vocals and riffage. “Super Clean” is kinda sexy 
with a gothic sound to it almost sounding 
orchestral at times, while “Slip” had me singing 
along into my hairbrush, as there is great melody 
in the vocals. You can also do a bit of air guitar 
too if you fancy. I think this record will suit all 
kinds of taste, that’s what so unique about 
Pitchshifter, the only fault I found is that it can 
be repetitious at times. Oh yeah, the cd-rom is 
quite entertaining also. (MC) 

Regurgitate "Carnivorous Erection” 

Not so much a review, more a "buyer beware". 
As well as being musically average (DEAD 
all did this sound way better), RGT are 
responsible for some of the most misogynistic, 
woman hating shit lyrically that I have ever 
come across, and I'm absolutely ashamed that 
bands like this exist in the grindcore scene. This 
whole "pornocore" bollocks should have died 
with GUT. Call me PC if you like, but writing 
songs about stalking, raping and killing women 
in explicit detail is fucking atrocious at this 
stage, and whether RGT are "only joking" or not 
there's no excuse. Bear in mind this review is 
being written by someone who likes both ANAL 
CUNT and RUPTURE. Fuck RGT and Fuck 
Relapse records for lowering themselves to 
putting out this kind of cack. (JG) 

Retisonic “Lean Beat” (Modern City 

From the ashes of Bluetip rises Retisonic, the 
brand new band of Jason Farrell and Joe 
Gorelick (of Garden Variety but who also had a 
short stint in Bluetip). Its new wave, its post 
hardcore, its rock. It uses Fugazi, Cheap Trick 
and Gary Numan as starter points and develops 
intself from there. The guiatr riffs are winding, 
the drumming is solid yet theres more of a focus 
on the vocals in that they seem to rise above the 
instruments - quite the opposite of what Bluetip 
did in fact. That’s not to say fans of Bluetip 
won’t dig this - cos they’ll get into this with 
ease. This 6 track mini cd features the 
production skills of the legendary J. Robbins. 
Atwo piece on record, they grow to a three piece 
live. Modern City have a habit of releasing 
challenging groundbreaking refreshing bands. 
Add Retisonic to that list. (TM) 


Runnin’ Riot / Tower Blocks split 7 inch 
(Rejected/Punk Shit) 

Fuck it, how good are the Runnin’ Riot tracks on 
this? Especially “Divided Loyalties” which comes 
complete with a jazz style breakdown and spoken 
word dialogue in Colin’s thick Northern brogue. I 
reckon its possibly their best song to date, and that’s 
some achievement when you consider what they’ve 
released already. The guitar playing really stands 
out on both tracks and theres even a garagey rock n 
roll feel to both songs. Tower Blocks on the other 
side are a relatively new band in the German 
streetpunk/Oi scene. Their English is perfect 
possibly from listening to CockSparrer, The 
Business and all those other UK bands lumped into 
that scene. Their first contribution, “General 
Boredom”, sounds similar to Runnin Riot in that its 
heavily influenced by that football terrace chant 
style of song writing. Their second effort is average. 
If this was a contest the class Runnin Riot win it 
hands down. (TM) 

Rydell / San Geronimo / A Rocket Sent To You 
split (Ignition) 

Three way emo rock split spanning from the UK 
across the Atlantic to the US. The UKs Rydell (with 
3 tracks) kick things off and it comes as no surprise 
that they’ve had a split release with Hot Water 
Music, such is their quality. Its emocore, but in the 
honest emo sense as opposed to the crying into their 
soup type stuff. They sound quite like Hot Water 
Music in fact but the vocals are a lot smoother than 
HWM. I’ve found myself singing the chorus to 
“Nothing By Morning” constantly. Easily one of the 
more accomplished bands I’ve heard from the UK. 
I’m off to track down more by this band. San 
Geronimo (with 3 tracks) are the first of the two US 
bands to step to the plate. Featuring ex members of 
Lifetime, Jets to Brazil and Drowningman (wow!), 
they manage not to sound like any of those bands 
whilst still delivering the powerful emocore. Their 
song writing is solid and their experiences in the 
aforementioned bands shines through on their 
sparkling offering. A Rocket Sent To You (with 4 
tracks) finish things up rather magnificently with a 
sound steeped in the Deep Elm crew. Garrison and 
Jawbox. They’re emotional and melodic but with 
plenty of bite and crunch. The guitar work and riffs 
is interesting stuff and their 4 song contribution is 
really strong. 3 bands and 10 songs = 1 fantastic 
split record. (TM) 

Saibhir “Truth or Dare” 

Saibhir have the pleasure of being the last cd I 
reviewed for this issue, mainly because I only got 
the cd less than a week before this had to head off to 
the copiers. Anyway, I’ve given it a wee bit more 
than the once over and I like it. I actually like it a lot 
more than their live show at Noisefest. They’re 
certainly good musicians and have obviously spent 
time listening to bands like Metallica, Deftones and 
more melodic rock stuff and the general vibe is a 
laid back approach to song delivery. I wish I had a 
bit more time to listen to this a bit more to get a 
more accurate review. Nine songs for 5 euros a very 
good deal for this. (TM) 

Shank “Coded Messages in Slowed dow n Songs” 
LP (625) 

I’m slowly but surely running out of ways to 
describe bands like this without repeating my 
vocabulary. After various problems and delays, 
SHANK has finally graced us with the much- 
rumoured full length. Is it worth the wait? Yes. Oh 
yes. The songwriting has been honed to a fine point, 
the production is raw without lacking power, and 
the delivery is absolutely fucking devastating. This 
is the sound of a band at their absolute peak, 
pushing forward the boundaries of the whole 
“power violence” tag into even more extreme levels 
of both quality and sheer brute force. If you read 
last issue you might remember me flipping out over 
the DESPISE YOU cd? Well SHANK are the only 
band to come close to my beloved DY. They do 
sound vaguely similar, true, but aside from that it’s 

a knack for total power and a level of overwhelming 
aggression that just grabs you and pulls you in that both 
bands share. Wait a minute.. SHANK is from Glasgow.. 
DY had a song called “Glasgow Relocation”.. Maybe 
there’s something going on here we don’t know about! Ha! 
Anyway. One of my albums of the year so far. Please, I 
urge you, check this band out if you like extreme music of 
any variety. Oh, and did 1 mention the HERESY cover? 



Sick Of It All “Live In A Dive” (Fat Wreck) 

Easily one of my favourite bands of all time, this release 
has been on the cards for a long time, since in the live 
setting no-one matches the intensity and power of these 
New York Hardcore legends. It’s the third offering in the 
“Live In A Dive” series brought to us by Fat Wreck, and 
easily the best. So you get to hear the early songs that gave 
Sick Of It All their name like “Rat Pack”, “My Life” and 
“Injustice System” right the way up to “Blown Away”, 
“Disco Sucks Fuck Everything” and “America” from the 
most recent “Yours Truly” opus. It all ends with the truly 
amazing “Step Down”. Between song banter mainly 
conisists of a few “thanks” and a call from Lou for people 
to look out for each other. Recorded at the world famous 
Bottom of the Hill club in San Francisco, if you cant get to 
a SOIA show every week... what the fuck... now you can 
bring it into your own home! A roughly 20 minute cd-rom 
live clips and interview round off a fantastic cd. (TM) 

Skitsystem "Enkel Resa Till Rannstenen” (Havoc) 

A new album from the almighty SKITSYSTEM? Oh yes. 
And you know it's a ripper. Take equal parts 
DISCHARGE, MOB 47 and CARNAGE, mix them up, 
and lo and behold, you have the unparalleled boot to the 
stomach assault that is SKITSYSTEM. They're not doing 
anything new, sure, but they've taken an existing style, 
refined and tweaked and produced a sound that is their 
own on this record. The raw Swedish Death Metal meets 
D-Beat (I've already seen them referred to as B-Beat owing 
to the gut churning down tuned guitar sound) attack here is 
a joy to my ears, and for my money Skit are the ONLY 
band how can combine thrashing punk and death metal 
heaviness without it sounding like..erm.. second rate 
straight up death metal like so many other bands (hello 

BLACKFISH records catalog). I don't know how they do 
it, but my sweet Satan am I happy they do. Essential 
listening. (JG) 

Snapcase “End Transmission” (Victory) 

I’ve always been a huge fan of Snapcase, down to the 
point where I have everything they have released on cd, so 
a new Snapcase record is always treated with an air of joy, 
expectancy and anticipation. As each record arrives, they 
always seem to take their dynamic start stop hardcore with 
screaming vocals formula up a notch or two which is 
something that I constantly admire them for. Here, like 
previous efforts, that formula is once again brought up the 
few notches, to deliver something new without losing any 
of the typical sound. Opener “Coagulate” which sets the 
tone, has a frantic, fantastic riff offset by Daryl’s 
trademark screaming vocals. In short it fuckin’ rocks. You 
know its Snapcase the minute you hear it. To stem the tide 
of explosive music, Snapcase have added some interesting 
interludes, something Breach used successfully on their 
last record. Recorded by the great Brian McTernan at the 
legendary Salad Days studio the whole album is a cerebral 
conceptual vision of future society and earth This is 
groundbreaking music at its very best. (TM) 

Society of Friends: “Growing Up Moving 
Away” LP 625 

Wherein Texas throws up the most underrated 
band in the US hard-core scene to provide us 
with a unique, classy and breathtaking debut 
long player. SOCIETY OF FRIENDS has the 
increasingly rare traits of personality and 
originality in their music. Sure there are 
reference points; early CORROSION OF 
both spring to mind, the former for the metallic 
speed picking during the fast parts and the latter 
for the heavier lurching moments and general 
sense of imagination. But these are just 
momentary similarities, SOF are very much their 
own band, and an incredible band at that. Great 
lyrics deal with frustration and anger without 
being either macho or wanky, great music that 
mixes crushing speed and sludgier moments 
with some surprisingly tuneful guitar work, and 
enough energy to out run Concorde. “Pot Luck 
Massacre” is the song I keep coming back to 
here but they’re all winners. If you like fast 
aggressive hard-core but feel like a lot of bands 
are too samey, you will absolutely fall in love 
with this record in much the same way I have. 
Not to be overlooked. (JG) 

Speedwell “My Life Is A Series of Vacations” 

Speedwell play the kind of music that will 
appeal to fans of The Get Up Kids, The Promise 
Ring, Jimmy Eat World, and Weezer. Its 
melodic alternative pop rock while at the same 
time its emo in the Deep Elm Records vein in so 
far as they’ve even had a song on the Emo 
Diaries compilation series. “My Life Is A Series 
of Vacations” is a brilliantly solid 4 song ep, the 
highlights being the really strong vocal delivery, 
the overall variety and the sometimes used 
electronic action. To round things off its all 
packaged using some exceedingly cool grease 
proof paper sheet over the booklet. I may not 
have used many words to describe this but trust 
me, it is a great record. (TM) 

Stapleton “On the Enjoyment of Unpleasant 
Places” (Subjugation) 

Fans of Jawbox, Fugazi, Jets to Brazil and 
Burning Airlines sit up and take note ; Scottish 
rockers Stapleton have served up a brilliant emo- 
driven record here. Armed with little more than 
superb guitars and some indie moments the set 
out and create top notch emotive textural 
landscapes with ease. Eerily some of their 
moments remind me of the now defunct Dublin 
band Rollerskate Skinny, which anyone familiar 
with that bad will know never had the Dischord 
or Deep Elm vibe that Stapleton give off in 
abundance. Oddly enough the last Subjugation 
record I bought was the hotly tipped and much 
talked about Spy Vs Spy who sadly went onto to 
call it a day soon afterwards, now I hear the 
label itself has closed its doors for the last time. 
Not sure where that leaves Stapleton but I’m 
sure its only a matter of time before these boys 
get picked up by a bigger label and become 
household names. Whether or not they’re maed 
after legendary Irish striker Frank Stapleton is 
another matter. (TM) 

Strung* Out “An American Paradox” (Fat 

I’ve never been much of a Strung Out fan to be 
frank but this caught my ear a bit when listening 
to it for review. Fusing punk, metal and prog 
rock gives Strung Out a fairly original sound but 
overall it lacks fluidity and is a bit jumpy around 
the edges. On the plus side though its technical 
and aggressive yet melodic and emotional and 
extremely creative. Song six, “The Kids”, is pure 
Nofx. This is an okay record. (TM) 

Superjoint Ritual “Use Once and Destroy” 

Superjoint Ritual is another one of Phil Anselmos’ The D4 “6Twenty” (Infectious) 

side projects. This one takes the stoner-ish feel of The D4 RAWK!!!! They fuckin rawk 12 times on this their 

Down, mixes it with that black metal project he hard, fast and furious garage punk rock n roll masterpiece. 

- does (its name I cant recall) and takes a huge chunk They’re a buzz band right now and rightly so. Hailing from 

of Pantera to create an interesting and obviously Auckland, New Zealand, they actually borrow more from 

heavy sound. Of all the sixteen songs on show “It their Australian neighbours in the form of bands like 

Takes No Guts” gets the nod, even though it reeks AC/DC and Radio Birdman. The guitars are 90 and theres 

of sheer Pantera. Sadly I didn’t get a lyrics sheet so a reek of sleaze. Fuck, they’ve even got a song called 

I haven’t a fuckin’ clue what Anselmo is on about “Rocknroll Motherfucker” ! What more could you possibly 

as he growls and grunts his way through a fine want. Believe the hype just this once. (TM) 

record. (TM) 

Sworn In “s/t” (Reflections/Bridge Nine) 

Sworn In write the soundtrack to death, pain, 
suicide and love. Its depressing The Smiths/ The 
Cure/ Joy Division inspired lyrics sung to Boston 
hardcore music such as Right Brigade and 
American Nightmare with a touch of early Sick Of 
It All thrown in for good measure. Its delivered with 
a fierce urgency, short but fuckin sweet and full of 
dance parts to keep the mosh pit kids on their toes. 
The fact that’s its on Bridge Nine and Reflections 
speaks volumes for its quality. The artwork by 
singer Delaney Jae is awesome, and is created of 
b/w polaroid pics covered with blood red 
fingerprints that even spill onto a flashy looking 
clear edged cd. Climb aboard the new wave of 
hardcore. (TM) 

The Bardo “Question, Persuade, Refer” 
(Riverman Records) 

Again another new name to me, The Bardo play 
dark moody rock with an electronica edge. It’s a big 
American sound with forced vocals, two original 
songs and a cover of the Iggy Pop penned “Search 
& Destroy”. Not a lot to go on in the three songs 
really. (TM) 

The Black Hand: “Warmonger” LP (Scorched 
Earth Policy) 

Wow. VOIVOD are one of my favourite bands, and 
as a wee thrash kid back in the late 80’s their album 
sleeves captured my eleven year old imagination 
like no other. So when I first saw the familiar and 
(as always) incredible artwork of VOIVOD 
drummer Away gracing the sleeve of this record, 
my heart melted and I thought, “This will rock”. 
Alas, awesome as the cover is, this record is a huge 
disappointment. The promise and heaviness of the 
10” / demo these guys put out has evaporated here. 
Gone is the dirty Swedish metal influence, and 
instead we’re left with a watered down version of 
BORN DEAD ICONS. I guess if you like BDI 
you’ll like this, however I unfortunately am not a 
huge fan of them so this leaves me cold. The 
BLACK HAND here sound tired and old to these 
ears with their mid tempo to moderately fast 
AMEBIX influenced sound being such a step back 
from that earlier recording. Hmm. I feel bad ragging 
on them after hearing about their total bad luck 
touring Europe recently, but I’m sorry, this is a sub- 
par release to me considering the standard they’ve 
set themselves prior to this. (JG) 

The Dagda “Threefold” (Control / Enslaved) 

Pick this up. The artwork begs you to, its superbly 
professional, with graphics depicting the songs lyrical 
theme and explanations of each songs subject matter. 
Music wise its equally brilliant. Its Neurosis with pace 
with His Hero Is Gone and Tragedy fucked into the mix 
with reckless abandon. The screaming anguished vocals 
are very impressive, at times it sounds like theres at least 2 
maybe 3 vocal lines. I really liked the opening 2 minutes 
of the cd, it oozes of Neurosis landscape/image setting 
samples before the cutting guitars and pounding drums of 
“Jahbulon” smack you about the head. Full of thick heavy 
riffs The Dagda have delivered possibly the best Irish DIY 
record ever. Again, the layout is easily the best I’ve ever 
encountered from any band in Ireland. This my 
friend... rules. (TM) 

The Denizens of Ilk “Follow The Red Light” 

This mob rocks. I mean rawks! The 5 minutes plus of 
opener , “TV Song” recalled many a drunken night in the 
“alternative” clubs in Limerick back in the 90’s when 
bands like Dinosaur Jr, Nirvana and Sonic Youth were 
constantly on the decks. However, its the least rocking 
song, the brooding closer “Hope Is An Anchor” which 
emerges as a staggering song, if just for the creepy feel it 
gives off - very atmospheric and image creating. There’s 
plenty of nods towards the more modern rock bands too, 
ala the Foo Fighters and the constant Queens of the 
Stoneage feel throughout. A very impressive ep by the 
Irish three piece based in Dublin. Check it out. (TM) 

The Dillinger Escape Plan with Mike Patton “Irony Is 
A Dead Scene” (Eiptaph) 

One word Incredible! Dillinger are as always, 
tight, technical and manic as fuck while Pattons at his 
spastic best, showboating his amazing range of vocals 
styles and abilities. Aside from the 3 other tracks, they 
finish off with a cover of Aphex Twins fucked up “Come 
To Daddy”, a song I view even more spine tingling since 
its eeire use in the film 8mm which starred Nicholas Cage 
as a private detective trying to hunt down the origins of a 
snuff movie. The fact that Epitaph seems to be strange 
home for both is forged stronger if a recent DEP interview 
is to believed where they stated that Brett Gurewitz let on 
he didn’t evn know who Patton was! Bizarre. As a bonus - 
as if you deserved one - you get some cd-rom footage of 
Patton and DEP during the recording sessions. Staggering. 
I need to catch my breath. An ESSENTIAL purchase! 

The Distillers “Sing Sing Death House” (Hellcat) 

The Distillers are lead by none other than Tim from 
Rancid’s Australian bom wife Brody. For the most part her 
vocals sound like Courtney Love, with the similarity being 
almost uncanny. She also sounds like Wendy 0 Williams, 
Patti Smith and yer wan from the Lunachicks. I’m sure 
shes taken some vocal advice and training from her 
husband. The music is rusty and raw, with rumbling 
basslines, touches of Rancid and an overall snarl expected 
from punk rock bands. Theres an air of no shit given, no 
shit taken from this band. I like this. (TM) 

The Firemark "The Way they Run" 7" (Bridge) 

Yeah. Well,'s this emo thing you see. Much as I 
like some of the early bands from this scene, this new 
fangled late 90's/early 21st century version is. .well.. it's just 
kinda shit really. I mean, no, okay I enjoy lots of more 
melodic music than you might expect from the kind of 
stuff I cover in this zine, (I'm actually a huge Lauryn Hill 
fan believe it or not), but once you've heard one band rip 
off TEXAS IS THE REASON you've heard them all. This 
isn't the worst record I've ever heard, but it does nowt for 
me. If you like TITR or HOT WATER MUSIC’S later 

shittier stuff, you'll love it though, and I'm sure 
the kids will all be raving about the FIREMARK 
soon. Nice background music to typing though, 
or maybe for sighing over pictures of you ex 
boy/girlfriend to, I'll give it that much. 4 songs. 
Mbleh. I'd rather just watch "Dawson's Creek" 
myself. (JG) 

Mi $p 


The Killerest Expression “Four Days That 
Shook The World” (In At The Deep End 

The artwork and band name might thrown into 
thinking they’re an emo band but “Memory 
Loss” opens the album like a clear pop punk 
version of Leatherface with certain similarities 
to Millencolin too. Despite forming in 1994, 
TKE, due to university and such really only 
started moving properly in 1999. The vocal 
harmonies and melodies are superb, with their 
English accents to the fore. The music is tight 
and very well played walking the line between 
the aforementioned bands but also Consumed 
and a polished version of Snuff. The bonus 
songs, tracks 7 and 8 are less rounded and seem 
like demo versions or older recordings and pale 
in comparison to the newer stuff. Incidentally 
this was recorded by ex Pitchshifter man Johnny 
A Carter and ex Bivouac man Paul A Yeadon. I 
like this one. (TM) 

The Mighty Mighty Bosstones “A Jackknife 
to a Swan” (Side One Dummy) 

The ultimate 8 piece party band returns, kicking 
things off with the up-tempo trio of title track “A 
Jackknife to a Swan”, “Mr. Moran” and “You 
Gotta Go”, all shining of that classic Bosstones 
jump up and down all action and all go style. 
They’re 3 really great songs which will surely 
make the cut on the greatest hits record. But fear 
not you two tone and reggae Bosstones fans, as 
theres a few moments of that good stuff rolled 
out on “Everybody’s Better” and “Chasing the 
Sun Away”. This, their 7 lh studio album has 
come up smelling of roses and reeks of the 
quality you’d expect from the Bosstones. The 
emotional “1 Want My City Back” pines the loss 
of the world famous Rat Club where the 
Bosstones took their first steps in the live music 
world. A brilliant album. (TM) 

The Rocking Horse Winner “Hoirzon” 
(Equal Vision) 

Its scary to think this is on the same label as 
Converge considering its totally a the other end 
of the spectrum to those guys. One things for 
sure they’ll be no fear a split record between the 
two anyway. The Rocking Horse Winner are 
indie pop rock with female vocals and they’re 
not even emo. They’re more like the Go 
Betweens or a lighter version of Belly, while 
sometimes they resemble Lady Luck. To their 
credit however, the songs are beautifully 
constructed and arranged, but still I’m not too 
much up on this kind of stuff to be able to write 
a fair review. At first listen I thought they 
sounded like a band that plays at free outdoor 
music festivals open to the general public. Sorry! 

The Vandals “Internet Dating Super Studs” 
(Rung Fu) 

Typical standard Vandals record complete with 
South Park esque cd cover. Some view them as 
geeks but they’re the best at what they do which is 
mixing humour, most of it being of the toilet 
variety, and punk rock. Song titles “Dispropotioned 
Head”, “Soccer Mom”, “We’ll All Get Laid” and 
“When I Say You, I Mean Me” serve only to ram 
the humour point home although the later song 
blends a metal riff with Weezers sensiblilty for 
melody to great effect. This album was a late arrival 
so I’ve not had to much time to compare it to 
previous effort “Look What I Almost Stepped In” 
but I’ll suffice to say that it will certainly keep the 
regular Vandals fan happy. Its their first full release 
on Rung Fu having left Nitro Records. (TM) 

Thirty Two Frames “s/t” (Revelation Records) 
Kicking, yelling and screaming their way out of 
Louisville Kentucky comes Revelation Records 
latest signing Thirty Two Frames. With a history 
steeped in bands such as Elliott, By The Grace Of 
God and Automatic to name but a few, theres a 
superb delivery of balls out, head down, thrashy 
punk infused rock on this six track Ep. (You get two 
hidden extra at the end too!) The songs are intense, 
fast and to the point, none stray over the three 
minute mark and theres very little instrumental fill 
which suits me down to the ground. The guitar work 
is surprising intricate despite the reckless abandon 
the band play the songs with. If bands like Avail, 
Dillinger Four and Samiam tickle your fancy you’d 
be best advise to lay your grubby little hands on this 
belter. This band will kick some serious arse live no 
doubt. (TM) 

Thrice “The Illusion of Safety” (Golf) 

Thrice could possibly have a monopoly on being the 
first band to mix melodic punk with thrash metal, 
hardcore, rock and emo. And surprisingly, despite 
those influences, theres a smooth flow to the record, 
dipping from Glasseater style emo-punk to Dead 
Blue Sky riff laden metalcore in seconds and right 
back again. Released on Sub City in the US and 
recorded by Brian McTernan at the legendary Salad 
Days studio. Thrice are a superbly original, diverse 
and innovative band. I think you’ll hear a lot more 
from this 4 piece soon. (TM) As a side note this 
record benefits the A Place Called Home non profit 
youth centre in South Central LA, which gives kids 
access to making music and recording. 

Throat “Knievil Is Evil” (Rivcrman) 

Throat sure now how to mix the styles, gathering 
together a collection of tunes, riffs and vocal styles 
reminiscent of Hundred Reasons, Helmet, Orange 
9mm, 12 Rods and Janes Addiction. And sure why 
stop there... as “Cleaver” gets close to 
“Troublegum” era Therapy? and “Circus Trick” is 
Rival Schools gone Norn Iron. Guest appearances 
come in the from of Andy Cairns on “Gleason” and 
Neil Fallon of Clutch fame on the cover of The 
Osmonds “Crazy Horses”. Throat are a solid unit, 
utilising tight start stop dynamics and inventive 
guitar work to good effect. Thers two great lines in 
the lyrics, namely “Tell me what is wrong with the 
breakdance” and “Get the fuck away from me you 
clown”. Nice. (TM) 

Throat “Sonny’s Hired Killer” (Riverman 

Re-release of a cut from “Knievel is evil” record. 
Think Rival Schools, think Hundred Reasons., think 
mainstream emo. “Sonny’s Hired Killer” is by no 
means the strongest track from the long player but 
its an okay song all the same. It comes backed with 
“Spiderman”, the theme tune, which I found boring 
and a BBC Northern Ireland session version of one 
of their best tracks - “Cleaver”. Its interesting to 
hear how the band live up in the live setting. This 
single is by no means essential - I’d recommend 
you pay the extra bit and buy “Knievel is evil” 
record instead. (TM) 

Time In Malta / Breathe In split (Reflections) 

Two Californian bands from two different spectrums of 
punk rock team up for a essential release. Time In Malta 
kick things off and crikey have they matured from their 
“Construct and Demolish” opus on Escape Artist. Armed 
with a better production and more inventive playing, their 
screamo (picture Lou Koeller singing for Quicksand or 
Helmet) action is all go. Its intricate and technical, yet the 
lads know when to let loose and just rock out in a manner 
of pure noisy chaotic shit. They’ve even got room for some 
Samiam mode melodic rock. Their last contribution “Pick 
Moon” features a unique song writing approach as it uses 
lines from a Nick Drake song as verse one, lines written 
about Nick Drake as verse 2 and the 3 rd and closing verse, 
are lines written by Time In Malta themselves. Time to 
check out the recent long player of Equal Vision methinks. 
Breathe In, on the other hand play a sometimes sloppy, 
always youthcrew, always thrashcore brand of hardcore. 
Its original in its approach and delivery, with the vocals 
being nasty and growly with a metal tinge. They’re 
definitely the 

least polished band on Bridge 9 Records. They too are well 
worth checking out. Overall a superb split release of 
contrasting style to keep all sorts happy. (TM) 

Urotsukidoji / Winter In June split (Ignition) 

Urotsukidoji...the name that’s on everyones lips... or then 
again maybe not. I mean how do you pronounce that after 
a few pints? Anyway they beat the living daylights out of 
their instruments bringing on a Converge style battering. 
Its crushing and intense, like a wall of power and the 
vocals are incredibly harsh. Winter In June on the other 
hand play classic sounding hardcore sort of like Bane. 
They’re tight and rhythmic and know when exactly when 
to write the breakdowns into the songs. They open with a 
cool “Predator” sample. Two very different sounding 
bands from South East England waving the flag of 
hardcore. Great contrast of styles. (TM) 

Ursa “Copper Light” (Schism) 

A new band to me - Ursa remind me of a lot of bands like 
: Oxes, Shellac, The Nation Blue, At the Drive In, Fugazi 
and Bluetip. The vocals are barked and the time chanes 
onn this three track single are wicked. The last track 
reminds me of something The Redneck Manifesto would 
come up with. Stranger than not knowing the band when 
this arrived, I haven’t heard a peep about them since. Well 
worth a listen though whther they’re still going or not. 
(TM) . 

Voodoo Glow Skulls “Steady As She Goes” (Victory) 
Have the Voodoo Glow Skulls ever changed their sound? 
Nope. I saw these guys in Philadelphia about 5 years ago 
and they were brilliant live - full of energy, the crowd was 
hopping and the music sounded great. However on record 
they never seem to catch me by the balls and say “Listen 
up sucker, we’ve got a belter of a record here for you to 
listen to and enjoy!”. They never seem to re-open the 
memory of their live show. I mean that’s not to say their 
records are poor, cos they’re not - far from poor infact, but 
they’ll always remain a passing interest for me... one of 
those bands whose record gets taken out every year or so. 
But hey, this, their first for Victory Records delivers 
exactly what I loved about their live show. Its full to the 
brim of rapid fire vocals, fast heavy songs with more horns 
that the devil himself and a fair dosage of punk rock too. 
Its great to see a band that formed in 1988 still push 
themselves when it comes to recording new records. The 
song “One For The Road” particularly stood out. (TM) 

V/A Punk Shit - Vol. 1 (Punk Shit Records) 
Volume 1 of Punk Shit from exiled Irish lad 
Rich Lard sees Rich bring together a massive 40 
punk band compilation. The style is varied 
across all aspects of punk -from the 80’s tinged 
attack of Dogshit Sandwich, the trad punk of 
Blood or Whiskey, the hardcore punk of 
Intention and the melodic punk rock of 
Nerdlinger and Lavvndog. The artwork comes 
from the original brush strokes of Boz. This is a 
really solid compilation and sells quite cheaply. 
Do yourself a favour and check it out asap. (TM) 

V/A “Beer and Bile. ..A Worldwide 
Streepunk Compilation” (Snapshot) 

Just like it says in the title A Worldwide 
Streetpunk Compilation. Compiled by Jay 
Snapshot, who also fronts the magnificent 
Aussie scumfuck rock n roll band The Blurters . 
And its in The Blurters that I find my favourite 
tracks on this record. I just can’t get enough of 
those Sydney fucks and they offer wo great 
songs in the form of “Sleepin’ In The Shithouse” 
and “Beer and Bile”. Aside from those boys, The 
Accidents, the bruising AVO (who alongside 
their own track also cover “Now or Never” by 
The Freeze), Voice Of A Generation, Very 
Metal and Adolf and The Piss Artists shine as 
the strongest contributions on board this 40 track 
cd. If streetpunks your number one thing you 
need to hear this. (TM) *Punk Shit Records 
carries this release and its rather cheap too. See 
Contact Addresses. 

V/A “Atticus - Dragging The Lake” (Side 
One Dummy) 

Emo pop punk. . . a lot of the stuff on here could 
make up the soundtrack of frat boys, swooning 
teenage girls and t.v. shows like Dawsons Creek 
and whatever programs MTV shows these days. 
Box Car Racer , who feature some Blink 182 
boys fulfil their talk of Fugazi inspired rhythms 
with their “Tiny Voices” track although the 
vocals sound the exact same as Blink 182, sadly. 
Glassjaw, Jimmy Eat World, Blink 182 are the 
more well known names on offer. Most of the 
time I can’t distinguish one band from the others 
except the obvious exceptions of Alkaline Trio 
(unreleased track), Rival Schools (unreleased 
track), Avoid One Thing, American Nightmare 
and The Mighty Mighty Bosstones (unreleased 
track). So some great tracks, some duds, atypical 
compilation really. (TM) 

V/A “We’re the Blood 2” (Snapshot) 

I really liked the first instalment of this 
compilation which I bought in Australia and 
listened to extensively while backpacking. As 
with Vol.l, my favourite band from Vol.2, are 
the balls out scumfuck punk rock n’roll of The 
Blurters., who I was lucky to catch live on three 
ocassions in Sydney. Charter 77, Sister Mary 
Rotten Crotch, Changeover and Riot 99 make up 
the 5 bands and 26 tracks on show. Streetpunk 
fans should snap this up. The Blurters tracks 
alone would make this a bargain. (TM) 

V/A “Warped Tour 2002 Compilation” (Side 
One Dummy) 

The annual cd to accompany the annual touring 
circus which is the Warped Tour. Punk purists 
think iLsmells of big business dollar signs and 
MTV bands, and sure maybe it does but I sure 
had fun at the New York date of last years event, 
so what the fuck. Anyway this cd has 50 
different bands over 2 cds and its fairly 
entertaining and diverse. Disc 1 offers good 
songs from Nofx, The Mighty Mighty 
Bosstones, Swingin’ Utters, The Casualties, The 
Lawrence Arms, Avoid One Thing, Glassjaw, 
Reach The Sky, Sloppy Meateaters and From 
Autumn To Ashes. Disc 2 has Alkaline Trio, 
Flogging Molly, Thursday, Kill Your Idols, 
Breathe In, The Damned, Lagwagon, Murphys 
Law, Throwdown, Dag Nasty, Avenged 

Sevenfold for entertainment alongside a few bands I 
wouldn’t piss on if they were on fire. As with all 
compilations there’s stuff you’ll dig and there’s 
_ stuff you’ll press the skip to the next track button 
after about a minute. (TM) 

V/A Punch Drunk 3 (TKO) 

Another good instalment of TKO Records 
streetpunk compilation. If you’re familiar with the 
label and are a fan of the stuff they releasee you’ll 
no doubt have recordings by plenty of the band on 
this. The added bonus you get are some previously 
unreleased and previously unreleased on vinyl only 
tracks. Band wise you get the usual suspects of The 
Generators, US Bombs, The Forgotten, Thug 
Murder, Sixer, Niblick Henbane, Those Unknown, 
Workin Stiffs, and Terminus City and plenty more 
besides. Interestingly theres a track by Irish band 
The Bloody Mutant on this, that being their “Sup 
On” number one hit. The picture of them on the 
inlay is hilarious. It shows the band, all with pints of 
Guinness so high up to their faces, that you couldn’t 
identify them. The inlay card besides holding 
information on all the bands featured, carries lots of 
information on TKO releases and prices etc., which 
is a great idea I think. (TM) 


Huh? Number 7 already? Epitaph keep whizzing 
these fuckers with the speed of a frog on a Honda. A 
what on a Honda? Yeah sure it makes no sense but 
an old school friend of mine once drew a picture of 
our science teacher on his science copy and wrote 
“A frog on a Honda” underneath. I always 
maintained I would use that line someday and hey 
presto... there you go Mike! So back to the review. 
Well okay, first off its Epitaph, You know all the 
bands already, or you know the ones who are worth 
knowing at least. So you get songs from a plethora 
of acts including Hot Water Music, Pennywise, 
Nofx, Rancid, Agnostic Front, Bad Religion and 
Dropkick Murphys. And then you get the rubbish in 
the shape of Pulley, Beatsteaks, Deviates and 
Heideroosjes. It’s a take it or leave it cd I feel and 
one that will appeal to the cash strapped or the kids 
getting into this kind of music. I already have the 
full length records and more by the bands I like. 

V/A “And the Nightmare Begins...A Worldwide 
Hardcore Compilation” (European Nightmare) 
Just like it says in the title... a worldwide hardcore 
compilato bringing together bands from fields a far 
as Asia and South American and elsewhere. And 
while the sound quality dips a few times, no doubt 
down to the fact that some of these songs are from 
demos, the overall quality of this record is good. 
Most f the band on show go for the Madball/Sick Of 
It All or metalcore approach. For me The 
Swellbellys, Marshcrannies and Tears From The 
Sky rocked the hardest. If hardcores your thing, then 
this is for you. (TM) Available for 6 euro / 5 sterling 
post paid from Jason Matthews, 19 St Olivers Pk., 
Castlebellingham, Dundalk, Ireland. Email 

V/A Household Name Records Sampler 

(Household Name Records) 

14 track cd sampler with Capdown being the most 
known band on here. There sure is a lot of ska 
which started to annoy me after a while, but tracks 

by Leeds based Fig 4.0, Red Lights Flash from Austria and 
Australia’s Thinktank (incidentally I met Lil and Kafren 
who run Household Name Records at a Thinktank gig in 
Sydney last year) stood out for their quality. Another band 
who stood out were, The Take, who were a new band to 
me but they sound pretty exciting none the less. (TM) 

V/A “How We Rock” (Burning Heart) 

Compiled by Peter Ahlquist from The Hives (he also owns 
BH Records), “How We Rock” concentrates on greasy 
dirty skuzzed up rock n roll and its various branches and 
styles. Can I tell you who features? Turbonegro, Zeke, The 
Hives, New Bomb Turks, Dwarves, The Peepshows 
(who’s record will have to come back out as I seem to 
have misjudged them), The Donnas, The Hellacopters, The 
International Noise Conspiracy, Puffball, Supersuckers, 
Electric Frankenstein, Sahara Hotnights, Rocket From The 
Crypt, Gluecifer, Randy, Gotohells and Danko Jones.One 
thing I will say is that a lot of bands on this owe 
Motorhead a hell of a lot of gratitude.The artwork and 
booklet layout rounds off a cool release. (TM) 

Yeast “Expander” (Golf) 

“Venezuela” kicks things off on Yeasts John Hannon 
produced “Expander”. The track is full of Redneck 
Manifesto / Slint isms and only serves to temporarily blind 
the listener from the assault that’s to follow. A mixed bag, 
theres full on punk workouts, theres emocore ala 
Sensefield / Samiam / Texas Is The Reason, theres touches 
of As Friends Rust rocking hardcore and theres Shellac 
style thobbing basslines and sparse crashing guitars (check 
“Mechanico”). However “Fraud” completely loses the 
plot... combining a black metal approach but played by 
Helmet or Faith No More. While this is definitely a diverse 
and entertaining album, the only downfall I can spot is that 
the songs are possibly a tad too long. (TM) 

Yeti Lp (Life is Abuse) 

What in fat Christ is this? After label mates TARANTULA 
HAWK wowed the underground with their debut last year, 
Life Is Abuse have found yet another equally bizarre band 
of misfits to expand the horizons of what can and can't be 
called "punk". A four song, 40 minute instrumental album 
eh? I can see the great unwashed masses puking all over 
their Amebix t-shirts in complete horror within seconds of 
hearing this record, but for the more open minded it's a 
fantastic piece of work. Taking on board snail's pace doom 
metal, prog rock workouts, horror film soundtrack music 
and spacey moog keyboard action, wrapping it all up in the 
same megalithic joint on smoking it , Yeti deliver a 
musical prophecy from a strange realm that's by turns 
serene, psychedelic, and downright terrifying. A very dark 
atmosphere pervades the whole album, and there really is a 
very cinematic quality to this music; I can definitely 
imagine this being used as a soundtrack to some lost Dario 
Argento film... actually, tell you what, this is the aural 
equivalent of "The Wicker Man". There's not really any 
comparison musically, but if you enjoyed either of the two 
FANTOMAS records, I think this might appeal to you, 
because these guys are coming from a headspace akin to 
Patton and co. Recommended, and kudos to Life Is Abuse 
for continuously taking risks with bands like this. (JG) 


Devestation Records, PO Box 747 , Fortitude Valley QLD 4006, Australia) 

Ratbone records, BP 11,33023 Bordeaux Cedex, France) 

Bridge Records, Box 1903, 58118 Linkoping, Sweden) 

Moshtache records, 652 Evelyn Ave, East Meadow, NY 11554, USA) 

Angry Records, C.P. 280, 15100 Alessandria, Italy) 

Last Effort Recordings, St oren Kirkestraede 11,5610 Assens, Denmark) 

Pigdog, Po Box 43, Hull, HU1 1AA, UK. 

Burning Heart Box 441 701 48 Orebro Sweden www . burningheart . com 
6 Weeks, 225 Lincoln Avenue, Cotati, CA 94931, USA. 

Subjugation, Po Box 191, Darlington, DL3 8YN, UK. 

Kung Fu, Po Box 38009, Hollywood, CA 90038, USA. 
Revelation Records, Po Box 5232 Huntington Beach, CA 92615-5232, USA. 
www . revelat ionrecords . com 

Diehard Music A/S Vindegarde 101 5000 Odense Denmark, 
Lucky Seven Records c/o Diehard. luckyseven@diehardmusic . com 
Reflections Records, Spoorwegstraat 117, 6828 ap Arnhem, The Netherlands, 
www. ref lect ionsrecords . com 

Fat Wreck Chords, Po Box 193690, San Francisco, CA 94119, USA. 
Bombed Out, Po Box 17, Leeds LS8 1UP, UK. 
Firefly , Po Box 30179, London E17 5FE, UK. 
Hellcat, Po Box 10574, 1001 En Amsterdam, The Netherlands, 
Epitaph, Po Box 10574, 1001 En Amsterdam, The Netherlands, 
Side One Dummy, Po Box 2350, Los Angeles, CA 90078, USA. 
TKO, 4104 24 th St. # 103, San Francisco, CA 94114, USA. 

Neurot Recordings Po Box 410209, San Francisco, CA 94141, USA. 
Stillborn Po Box 3019, New Haven, CT 06515, USA. 

HydraHead Po Box 990248, Boston, MA 02199, USA. 

Hardcore Times Papion, Erskine Ave., Greystones, Co. Wicklow, Ireland, www. hardcore- 
times . com 

Seismic 86 Carlton Road, Boston, Lincolnshire, PE21 8PQ,UK. www. seismic . f 2s . com 
Overcome Records BP 80249, 35102 Rennes Cedex 3, France, 
Enslaved - Po Box 169 Bradford W. Yorks BDL 2UJ, UK. www . enslavedrecords 
Rejected Records Po Box 6591, Dun Laoghaire Co. Dublin Ireland, 
Control Records c/o same address as Rejected Records. 

Eire Records c/o same address as Rejected Records. 

Bridge Nine, Po Box 990052, Boston, MA 02199-0052, USA. www. bridge 9 . com 
LawGiver Records, Po Box 17133, EH11 2WX, UK. www . lawgiverrecords . f reeserve 
In At The Deep End Records , 82 Barlow Drive, South Awsworth, Notts, NG16 2TD, England. 
www . inat thedeependrecords 

Go Kart Records, Po Box 20, Prince St., Station, New York, NY 10012, USA. 
www. GoKartRecords . com 

Riverman Records www . r i vermanrecords 

Punk Shit Records, 74 Bristnallhall Rd., Oldbury, West Mids, B68 
9TU, UK. rikmac7 6@supanet . com 

Loudspeaker, c/o Platichead Records, Po Box 6, Wallingford D.O., 0X10 9FB,UK. 

Snapshot Records, Po Box 175, Georges Hall, 2198 NSW, Australia. 

Ignition Records, 1 Chandos Rd., Tunbrige Wells, Kent, TNI 2NY,UK. www . ignitiononline 
Household Name Records, Po Box 12286, London, 5W9 6FE, UK. www . householdnamerecords 
Sanctuary Records www . sanctuaryrecordgroup 

Modern City Records, Boite Postale 6035, 69411 Lyon, Cedex 06, France. 
www.moderncityrecords . com 

Victory Records, 346 N. Justine St., Suite 504, Chicago, IL 60607, USA. 
www . victoryrecords . com 

Equal Vision, Po Box 14, Hudson, NY 12534, USA. www . equalvision . com 

AON, Ivailo Tonchev, Stara Zagora 6010, Kv "Kazanski" 16-G-115, Bulgaria . 
Schism Records, Po Box 9, Magherafelt, County Derry, Northen Ireland, BT46 5BY . 
www. schismrecords . com 

Conor: Hey Tim, so can you do the usual stuff of just introducing the band, history etc? It’d be cool to start the interview with a less predictable question but a 
few people here may not have heard you guys so it's a necessary evil. 

Tim: Hey my name is Tim...l play guitar in American Nightmare. We have been a band for like two and a half years now and we are from Boston. 

Conor: What's the name American Nightmare about? Is it meant to mean anything or 
did it just sound cool? 

Tim: Ahh we took it from the Misfits song.. .and no its not very cool. [Minus scene-points for me -I hate the Misfits!, Conorl / * ,1 / \ 

Conor: Boston and Massachusetts has produced just way too many great hardcore bands - it's not really fair is it? What do / 

you think it is about Boston that it has managed to maintain such a cool scene and keep producing great bands? / 

Tim: I don’t know... I always get asked this question. The simple explanation is yes there’s something in the water... I don’t know so j 

many kids here all do bands, and even though there are so many different styles most all of the kids help each other out. ..its real cool \ ; 

that way. Blah. \ \ 

Conor: So were you guys influenced by a lot of the earlier bands from Boston like DYS and SSD? N. * ■ V 

Tim: Personally I would say more a long the lines of Slapshot, but yes of course. 

Conor: Right the way through from the early Boston SxE stuff to the mid nineties stuff like In My Eyes and Ten Yard Fight up until the bands still around now 
like Converge, Bane and a lot of the Bridge Nine stuff, has the scene experienced a lot of change? 

Tim: Yes.. and honestly i would say for the better. Before Boston was such a sided and divided scene. Asides from seeing a million new kids come and go each year, its just 

great. But Boston has always been a college town. 

just seems that each year the scene or click of kids turn over quickly. 

Conor: It sounds like you tour of Europe last year went really well. The shows sounded amazing - are you looking forward to the UK shows soon? 

Tim: Yes... that last tour went amazing. I am actually typing this about two hours before we leave to go to the airport. But we are really psyched to get over there and play in 
the UK again. 

Conor: You’ll be playing with Sworn In again - I gather you really liked them a lot? They ripped some lines off The Smiths from "Bigniouth Strikes Again”, I 
thought that was cool. Do you like Morrissey/ Smiths? If so what's your favourite album and do you prefer the Smiths or Morrissey solo? I personally am 
listening to the solo stuff more 

Tim: I think I might actually go out and say Moz solo as a preference. Sworn In are good buddies of ours., we love those dudes. We just actually played with Sworn In on 
Sunday, but they wont be doing any UK dates with us... they are over here on tour right now in the US. Bum out for us. 

Conor: I saw one of you wearing a Stone Roses shirt (I think they suck but hey) - are you into a lot of music outside of typical hardcore? I think it's cool to hear 
what people listen to when they're not rockin to hardcore. 

Tim: Yea we are all into a ton of different stuff. Actually we really don’t rock hardcore all that much as far as new bands I guess. We know what we like, and sorta stick 
with that. There are a few great new bands out today, 
but I will say there is a ton of shit as well. 

Conor: Is there still a big straight-edge scene in Boston? Is there much politics and activism in the Boston scene these days? 

Tim. Yes the SXE scene is still doing well, but nothing like it was a few years ago. Boston has never been really known for its politics in its hardcore, and thats the way 1 

think it should stay. I love bands like Propaganda, but we just choose not to use the stage as a platform to rant about our ideas. 

Conor: A lot of the lyrics of your releases seem to centred around personal stuff - is that just the stuff you guys feel more comfortable with? 

Tim: Yes, that’s Wes's dept. But yea that’s where I would rather be singing along to as well, even if I wasn’t in the band, so yea. 

Conor: Are there any new bands in Boston that you think people are going to like but might not have heard yet? Any bands in general that you have been rocking 

to recently? 

Tim: Well I’m sure kids have heard of them.. ..but I think the Suicide File is by far the best band in Boston right now. 

Conor: It seems as though more bands from US seem to be touring Europe again (skipping Ireland of course liaha) - do you think there's a big difference between 
the scenes in USA and Europe? A lot of people have commented that it's less violent in Europe - have you experienced that? 

Tim: Ahh I guess. Coming from a scene where years ago, every show was just a bloodbath, I guess I feel like I’ve sorta seen it all as far as fighting goes. Boston is much 
more chill now, but honestly that shit bums me out the most when 
it happens during out set. I mean fighting sucks, but I’d rather see 

a real fight than some nerds fight it out on the internet. I ^ 1 

Conor: Do you ever get violence at your shows - how do you 
guys deal with it? Some bands seem to be encouraging it - the 
ones that are all about "the mosh”. 

Tim: We do our best to try to stop it, but sometimes there just 
nothing that can be done. 

Conor: Are any of you guys doing stuff outside of American 
Nightmare? Any side projects lined-up? 

Tim: Wes does Some Girls with the guys from the Locust and Rob 
from Unbroken...! am doing a rock band with Jarrod from the 
Suicide File and Matt our old bass player.. .and I have an acoustic 
thing I’m working on. Brian and Azy our tour manager are doing 
an Edge band pretty soon when we get the time.. or at least they 
say there are ha. 

Conor: What are the plans for AN in the coming months after 
the UK shows? 

Tim: We are practicing this fall and going out on tour in 
October.. then record the record.. .yea. 

Conor: You guys ever gonna play Ireland?!!!! I think most of 
the kids here would love you guys. 

Tim: Maybe next time.. .we are doing Scotland this time, so that 
should be fun. 

Conor: Anything you want to add to the kids here. 

Tim: Thanks to the kids that have supported us.. means the 
world to us... peace - Tim & AN. 


Out October 7th 3rjii£a|ih 


f ON CD 














Rfuc*r Rs«t>s 


^irnph P.O. BOX 10574 




"Albany, NY 122,1: 

Nate Wilson (ex Devoid of Faith) runs Gloom Records from 1. J 

r 'M ■ « I w / 

4) One last DOF related question, then I promise I'm gonna 
I move on!.. I heard some story about you touring in the USA 

with Mainstrike, and Mainstrike getting you kicked out of 
lyour apartment .. is this true or total bollocks?If it is 
ltrue, care to elaborate?j|HHmilHHi 

'Nate: Well... half true... it was just my apartment, and 
I DOF wasn't involved. Mainstrike toured alone, and my 
landlord thought they were devil worshippers or something 
land he asked me to leave. I was there for 3 years... the 
Idrunken old bastard was confused. 

5 ) 1 guess so™ of the MAINSTRIKE guys are in THE OATH 

out records by Boston's Close Call , Japan's Total Fury andi 
Sweden's The Dead Ones. Think that keeps him busy. Think jjL 
again! Nate also plays in The Oath and John Browns Army. Our 
I man Jamie Grimes has this chat with him over email. 

I * I i 

l)Hi Nate, how's things. Can you start by 
introducing yourself and telling us what kinda^^uf^ 
you're currently involved in alo ngside 6loomJ“ ‘ 
Records . ' 

Und*bLr?° y ^f ading ' seeing filmi^l^i^^^7T| 

and n n h C Wlth Deathsc I uad ' John Browns Army | 

I The lahow i My favourite Past time is travelling 
[The label takes up much time. 

2) Okay 

so the obvio us place to start. .how did Gloom 
records come about? 

The first release I 
was aware of was tha"_ 
Devoid of Faith/Seized 

split. .did you 

I initially plan to 
I focus just on the jjL 
I Albany stuff /DOF? ®[ fSr 
I Nate: Yes that was the 
1st release. We 
(Devoid of FaithT^o? 
fucked over by a 
label, and decided the 
only way to release 
records was 
ourselves. . .so 
started putting out I /ML 
records. I later put 
out a Monster X 
record, and a 9 Shocks 
I Terror / DOF split. It* 

I was initially to focus/ 
on bands I was 
involved with, it 
iater changed, and** now 
I prefer doing other 
I stuff, helping out 
kids who need and want] 

| their music heard 

Nate-It 9 was initially a project, so no that doesn "P 
m* i want to kill the band before it becomes to much of T 
a joke We usually practice together in whatever country I 
theTour starts in for a week or two before the ^ 0 ^ It 
makes it hard to write new songs ... thats all. — 
tour was weird... we played some lam^f^ki^shows ■ 


6) It' s' kind of hard to avoid the current "controversy" 
over the cover of the Oath 9", I was wondering if anyone 
else has given you shit about it besides EBULLITION? Are 
you past the point of feeling that you need to explain 
the artwork to people now, cos surely it must get 
aggravating after a while.. And I believe there's some 
trouble over the PROWL 7" that's just come out on 
Gloom. . what 1 s the story there? ! 

Nate: Kent was the only person really who i know that had 
a problem with The Oath art. I could care less about all 
that shit now...we all learned lessons from it. As far as 
The Prowl art work goes, I stand behind the band and 
their love of horror. I think the hardcore scene has 
really become fucked up in its actions and thoughts On 
judging people/art/lyrics . Its all art. People need to be 
able to think forthemselves , and make up their own minds. 
I don't think people are promoting that. I think people^ 
seem to want to all think the same and turn the scene®® 
into somet hing thats b eyond my comprehension. Fuck is all 

*HSBPSS_ . _ 

I fulfilled stuff" T* ^ ^ *° b «W 

of the bands you put out are from th" f 100 ” 71 kno w 

(intentional or would you like to do ' “ ^ 

foreign bands? And (cheesj p«t of tETL'T f - 

Nate b T S ^ anY d ° y ° U rate **** now->T S ^ !) " ha * 

Nate. No, not really a criteria t , „■ l M i t ^ ■ 

kinds of music, i just need to iiL tS ° f diffa ^nt 

someone might sendee. Semos are a aood that 5* 

“2°!; f - h ° Pe , put a rock 45 Tto heli y 1 

3)1 always think thatj 
DOF were one of the $ 
bands who kind of 
paved the way for a | 
lot of the more "old | 
school" sounding bandsj 
nowadays , in that you I 
sounded like an update 9 
Jl Wm\ 1 of t ^ ie old Boston h 
bands . . in that respect I was wondering if you get 
I many kids now who missed DOF first time round ask. 
you about that band? And ar e you proud of what you 
accomplished in DOF? w 
Nate: I still get some people who have 
the band, and never got a chance to see us. There's 

and an e.p. by The Shemn*? £ ock 45 (to hell and back),! 
style stuff i j U st rppH w 0 P a y kinda garage rock/* 
music, i like doina Want t0 Stand behin ^ the/f 

enthusiastic. Lots of peopirtLriabelsT ^ Wh ° *”1 
these days and I'm not interested in , granted W M 

.put out a few intem*i-i = i u ln those dweebs. I have] 

Japan and The Dead Ones from Sweden^ ■ FUry fcom ¥ 

mostly on the East Coast, but S not a St ^ 

[New bands I like are Cut The Shit, the Prtwl "d - 
I've heard j like ,i 

a whole slew of klds ^ ^treV rubbish for years. Some stuff is just impossible ro 

chance to see us I am proud of what we did. We were*, ^ ^ ^ why difficult to get my stuff over 

to see us 

playing fast when playing fast was not only not 
cool... it was very un-cool. People used to stand 
| there and stare at us as we played . 

How important a role does the mailorder side of 
play? Do you trade much stuff with other labels.. and 
you find it hard to get your stuff available outside of 
the US (clue: I've had to get it directly from you in the" 
past, cos so few distros in Eur ope seem to have it!)? IsJ 
your comic shop still open too? *j® 

Nate: Its a very important role. I get a lot of orders® 
for non Gloom Records stuff. It helps the label. I do I 
trade/ but I'm particular, as I've gotten stuck with some 
Some stuff is just impossible to sell . 


there .. .Coalition and Ebulltion usually carry it. 
store is closed. Its been closed for 2 years now. 

where Greg and Brett have worked together.. .1 
mean he brings Graffins work up, it’s a nice 
juxtaposition ‘cos they write differently but 
within the same spectrum. My favourite Bad 
Religion records - which I can say as I was a fan 
before I replaced Brett - are ones that they wrote 
together. I was all for it especially when I learned 
they were keeping me! Its been a really great 
thing. Brett’s come on tour with us when he 
could but he’s running the biggest indie punk 
label on the globe and he can’t really be out all 
the time. We thought he was gonna make it for 
this portion of the tour but something went 
wrong with the Pennywise artwork and he had to 
go deal with that. 

Trevor: So he’s not here then? 

Brian: No, he’s not here. But its cool... he’s 
really hands on with the company so when he 
can come he will and if he cant... 

Trevor: that’s the idea behind having the 
three guitarists? 

Brian: Yeah. Brett never said he wanted to come 
on tour all the time. The important thing is the 
songwriting and recording because that’s the 
lasting thing to me. He’s already writing the next 
record and bar nothing horrible happening we 
can continue this partnership, which is great. 

This record is a great example. This record is far 
superior to the last few we released and I really 
believe Brett is a huge part of that, so I 

Trevor: Okay, first time in Ireland... any particular reason why its taken 
; , you so long to play here... 

Brian: We tried to come in ’94 but no one would book us as they didn’t 
like the name, which was really stupid. We sniffed around again in ’98 
but at that point we were with a different record company who just didn’t 
release our records up here so there was no point in coming. So now its 
finally that our record is here and there are people who are interested in 
having us play. So that’s what took us so long to make it, which sucks, as 
I always wanted to make it here. We all have, cos every American loves 
to pretend that we’re Irish... (adopts silly voice) “I’m Irish”... no you’re 
not, you’re American, you’ve nothing to do with Ireland... (adopts silly 
voice again) “No I went to a website that says I’m Irish!” You’d be 
amazed at the fuckin Irish mania over in the States. Its really cool to be 
Irish there. 

. Trevor: So how do I do an interview with Bad Religion that keeps it 
j interesting for you and fresh for fans of the band? 

Brian: Don’t ask how the band started. . .don’t ask if any of us are 
Christians. . .ahh. . . otherwise its pretty much open season. Its really an 
interview by interview basis. Mind you, I’m not here to be. 
entertained... I’m here to entertain you! 

Trevor: An obvious question but one I 'm sure a lot of people would like 
to read an answer to... the return of Brett... how did it come about and 
what has the band as a whole gotten from that? 

Brian: Well Brett finally stopped smoking crack and shooting heroin and 
got out of jail and got his life together where he was back to being a 
functioning human being. But through all of it he still managed to be an 
amazing songwriter and he’s still an amazing person. The time was right 
where he felt he had gotten his shit together where he felt he could be a 
contributing member. You know... my favourite Bad Religion stuff is 



















































ivor: The website has a piece where it 

compares Bad Religion 's harmonious and 
emotive vocal choruses to The Beatles or The 
Everly Brothers.... who wrote that and do you 
agree with it? 

Brian: What website is that? 

I doubt it! That’s some press release. They gotta 
sell records and you know what... I don’t! And 
that’s awesome because it’s a fuckin shit 
business. They don’t tell me how to play guitar 
and I don’t tell them how to write. 

Trevor: Do you sell your records at gigs? 

Brian: No. They’re too heavy to carry. There’s 
hassle with taxes to get them in and out of the 
country. Its never worth it. Its not practical for us 
to carry that stuff because the taxes are so 
different to the garment side of things. Long ago 
we learned not to do that. 

Trevor: So the return of Brett seems to be the kick in the arse the band 

Brian: Absolutely! It also coincided with the fact we finished with the 
other label and coincidentally... and truly coincidentally... when this all 
started to happen we had finished the contracts with the last label, other 
people wanted us but Brett said well why not come on Epitaph. We said 
“hmm, that’s pretty smart. . .you see the guitar player in our band is the 
president... hmmm, I wonder will we get anything done?” So that’s been 
real helpful too and that’s why I’m sitting here in Ireland on tour. 

Trevor: There was talk you were on the verge of splitting until Brett 
came back in the fold? How close did you get to actually finishing up? 
Brian: Nah...but we were pretty shaky! Our drummer got hurt and had to 
leave. I don’t think we were on the verge of splitting but we certainly 
weren’t at the high point of our career... I’ll say that much! I’m glad 
things worked out the way they did but I’m sure we would have soldiered 
on in any event. 

Trevor: What about the merchandise, how much 
imput do you have with that? 

Brian: Yeah, we have entire control and imput 
with that. That’s still more of an artistic thing to 
me and the images portrayed are pretty 
important. We own all our own merchandise and 
do our own designs. 

Trevor: The new record. ..critics/ reviewers are calling it the best record 
you 've done in a decade. Firstly what do you make of that?? And secondly 
do you think that's offensive to the effort you put in on the previous few 

Brian: No, because its better than the last few records. There are high 
points on the last few but as a consistent album I think “Process of Belief’ 
is obviously stronger. I’m in no way offended by that. Everything you do 
isn’t gonna be a winner and I’ve played on probably 70 records by now 
and some of them sure aren’t as good as others. It doesn’t bother me for 
some reason. Everybody got real excited about Brett’s return... including 
reviewers. They want to like this because it’s a good story so lets not 
forget that. You know. . . “guy triumphs over heroin. . . comes back. .... |.” 
It’s a good story! 

Trevor: I think its reminiscent of when the band stormed back into action 
with " Stranger Than Fiction ".... 

Brian: Yeah I would so say. The story was “indie success goes major 
label - hits to follow”. That didn’t work out quite the way they hoped. 

Trevor: You 're all pushing on (if you don't mind 
me saying so) ... 

Brian: ...Not in the least... 

T revo r : . . . how do you find touring these days 
compared to say 1 5 years ago? 

Brian: It’s a lot better now because we’re so old, 
they gotta make sure everything’s nice. I’m more 
beat up now than I used to be. I don’t really drink 
as much as I used to. That’s the saddest part of 
this getting old thing is that when you hurt 
yourself or you fall down or something it hurts 
for two days instead of two minutes. If you get 

&. Illlgl I 

really pissed you’re hungover for two days. So what we do is we try not 
to fall down and we don’t get fiieked-up so everythings fine. That’s pretty 
much it... you know when I was a kid touring, it was this magical big long 
party but its not like that. I’m not gonna call it work, because I don’t want 
it to sound like its not fun - ‘cos it really is - 1 just think we’re a lot more 
serious about what we’re trying to do. We’re trying to travel in ways that 
basically means we’re up for every show and good for every show. We 
got to Dublin last night and stayed over, which is a good example ‘cos if 
we’d travelled all the way here like we would have ten years ago.. .you 
know... it just beats you up. And as it’s the first time we’ve been here I 
want to play an awesome show. This should be the beginning of getting to 
come back here year after year. You just can’t come up here and suck. I 
wouldn’t have that. I can’t do that. 

Trevor: ... and after the gig... 

Brian: Usually I hang out for about an hour and I sign stuff or do 
whatever you gotta do for the people that are hanging out. I’ll go back up 
into the bus and play Grand Theft Auto 3, have a sandwich, read... its 
really boring but that’s what I do. Tonight however we have an early 
flight and we have to get up at 5, so we’ve agreed that we may as well 
stay up for that. So after the show we’ll go out and have a few 
drinks. ..this is definitely the place to go drink something... 

Trevor: ...I've got to get up at 6, get a 2 and a half hour train back to 
Limerick and go straight to work, so I’ve no pity for ye... < 4 *. 

Brian: ...ha ha okay well then I gotta get up at 4, on a plane at 7 and I’m 
going to fuckin’ Germany, Oberhausen Germany - the most boring 
place.... lets just say I’ve spent a lot of time in Germany in the last ten 
years or so and I enjoy it sure but I’d certainly rather stay here. That’s not 
to offend our fine Kraut friends! 

the rubble. Eventually help came but the whole 
thing was horrible. You know this is supposed to 
be entertainment and when we’re playing a show 
theres supposed to be fun. It isn’t supposed to be 
like going to college or class. Its certainly not 
supposed to be a place to get hurt. That’s the low 
point that I can think of right there. 

Trevor: ...and the biggest challenge? 

Brian: The greatest challenge is to remain 
relevant. With a career as long as we’ve had to 
be able to continue to write about things that are 
some what insightful and hit people in a certain 
way. To have a reason to be here. When you’re 
as old as we are usually you’ve broken up and 
reformed and broken up and reformed and you’re 
now doing the State circuit opening up for Uriah 
Heap. It’s hard to not wind up being a caricature 
of yourself. You don’t want to just write the 
same record over and over again and that’s by far 
the hardest thing... to still have some importance. 

Trevor: I’ve read some stuff about the Research 
fund on your website ...can you tell me some 
more about that? 

Brian: This is our fourth year doing the research 
fund. I don’t necessarily know if its limited only 
to the US... logically it shouldn’t be and I hate to 
think it would be that exclusive. So far the 


Trevor: The band has been going for over 20 years what have been the 
highs and lows... 

Brian: I can only speak for the decade or so I’ve been in the band and I 
managed to cruise in for the gravy - which if you’ve followed anything 
I’ve done in the past, I always manage to join a band just the second they 
get a tour bus so I don’t have to do anything the hard way! The 
highs... there are so many of them but personally - and not just because 
this is the first time we’ve come to Ireland - but the first time in a new 
place is always really exciting to me. I was in the band the first time we 
went to Japan and the first time we went to South America. That’s the 
great thing. I love culture, history and human experience. Before we came 
here I was ploughing through my James Joyce and just getting my Irish 
thing happening. That’s the joy of being in a band- if you choose to take 
advantage of it - is that theres travelling all over the place and meeting 
new people. The low points are when people get hurt which happens way 
too much and we do everything we possibly can to avoid that but 
sometimes things are definitely out of our control. My experience of a 
low point in the band was San Sebastian, Spain in 1995. We were playing 
to 3,000 people and in the blink of an eye, 1,000 vanished: What 
happened was the floor broke and as it was above a car park the floor of 
the venue fell about 20 feet. No-one was killed, but people were fucked 
up... this was serious shit... San Sebastian’s infrastructure ain’t so strong 
and everybody’s fuckin drunk as it was a Saturday night. Even getting 
help to these people was hard because everyone was like (adopts drunken 
state...) “ehh? We’re fuckin Spanish man...” I was too wound up for that 
being from the East Coast of the States. Basically we tried to do as much 
as we could to the point where band members where pulling people out of 

people who have won have been from the US. 
We provide grant money which is about $3- 
5,000, just out of our own pockets to basically 
help supplement the funding of individuals who 
are doing field work in the natural sciences in 
universities. The reason for this obviously comes 
from Greg Graffins passion for this. His lifes 
work besides being the singer for Bad Religion 
has been biology and palaeontology and that’s 
what most of his education has been based in. 
Theres an incredible lack of funding for non 
laboratory scientific work in the US and Greg 
has lamented that and felt it himself when hes 
been on field work. He said to himself a few 
years ago if he could ever help anybody he 
would and we’re at the point where we can 
afford to do that. We get about 500 applicants a 
year and Greg, being the scientist, gets these and 
breaks it down to about 30 that we in the band 
look over. Realistically I wouldn’t have the 
patience to sit through 500 of these but Greg 
does because hes into it. God knows, I’d rather 
have a beer! Then the band as a collective talk 
about the applicants, anything we don’t 
understand gets explained by Greg in laymans 
terms. We then decide whos got the best idea or 
the most potential in their research to yield 

something interesting. This year we’re trying to get some other people 
involved to get more money so we can either have a larger amount for the 
winner or fund 2 to 3 people. It’s a good thing, I mean if I had graduated » 
from high school I would have welcomed some help for my higher 

Trevor: Greg has wrote “Anger and violence are not punk traits” ...yet I 
find people would argue that anger is a huge influence on punk and its 
spirit . . . well focused anger anyway .... 

Brian: ...I dunno...I think theres a difference between anger and 
hostility. Anger to me seems to be more of a natural. . .something to do 
with rage more than emotion. Its not as easily controlled by a person 
whereas hostility or being a smart ass motherfucker is what I associate 
with being punk more so than anger. I don’t think that punk necessarily 
needs to be qualified by blind rage. I think it needs to be a focused anger. 
Effectively hostility is the ability to turn it on and off. 

the process of belief 




Trevor: How about a Bad Religion 
show where you come out on stage 
and the crowd shouts out songs on 
the spot and you } ve got to play 
them... could you manage that? 

Brian: That happens about every 3 
shows. Unfortunately because we 
have our new drummer Brooks - 
whos wonderful - but hes only been 
in the band a short period of time so 
we don’t have the ability to pull 
anything out. But Brooks to his 
credit... we play 28-30 songs a 
night... and Brooks probably knows 
another 20. When there may be a lull 
or somebody breaks a string or 
something we’ll be like “so what do 
you want to hear?” If it’s a song that 
everyone in the band doesn’t know, the people in the band who do know 
it will just sort of blast through it. Jay’s really good at that 4 cos he knows 
all the songs. That would be a good idea though... kind of like the 
“Storytellers Bad Religion”! 

Trevor: you get through 28/30 songs a night... 

Brian: We usually play somewhere between that. Its about 1 hour 15 
minutes. We don’t really do encores unless we’re in a country where they 
don’t speak English or understand that we’re not being offensive by not 
doing an encore. Like the Italians think we’re telling them to fuck off if 
we don’t come back out on stage. Basically I feel encores should be a 
genuine outpouring of emotion and it should be deserved. The fact that’s 
its just a given in rock music... like you could see someone like 
Nickleback and the setlist will have a line where it says encore. Like what 
the fuck is that? That’s not about spontaneity... that’ s just bullshit! So we 
play lhour 15, 1 hour 20, because that’s about as long as you can take. 
The music, the energy and speed of it is just exhausting and its not fun to 
listen to after that. I know that from playing and of course from being in 
the audience. We pack as much in as we can I that time and just get the 
hell out of there. 

Trevor: ... how do you go about selecting what goes on the set list? I'm 
sure you're very eager to play a lot of the new record? 

Brian: We have a basic frame that we look at because we know we can 
only play a certain amount of songs from the new record and we want to 
hit every other record in someway too. Of course another thing I hate is a 
band that’s been around for 20 years saying “we’re not going to play any 
of our old good songs that you like... we’re going to force you to listen to 
the new crap that we think is good... that’ll be $30!”. See I’m not into 
that. We always play songs from 1980 right the way through. The 

decision is based on mood. If Greg’s throat is 
thrashed we’ll do the short faster stuff, if he’s 
okay well do the slower songs. Each tour, you 
get the usual 20, they you’re playing with the 
other 8. 

Trevor: Any of todays bands catch your eye? 
Brian: The Promise Ring is a great band. I like 
Hot Water Music a lot. We tried to bring them on 
this tour but they were doing the record ad 
couldn’t come. They toured with us in the States. 
They’re a great band. Its coincidental that they’re 
both on Epitaph. As far as up and coming bands, 
they are my two favourites. I have to be honest I 
don’t pay a whole of attention to whats 
happening in the punk rock music scene. Part of 
that is the fact that I’m 37 years 
old and when not on tour I’m not 
at home playing the best of 
Discharge as loud as human 
possible and pissing off my 
neighbours if you know what I’m 
getting at. I listen to American 
mid 20 ’s county music. Like 
Hank Williams, George Jones, 
Hank Snow, American roots 
music, Carter Family, Jimmy 
Rogers. That’s fun for me to 
listen to at home. Unless of 
course I’ve a bunch of friends 
over and I’m drunk and then it’ll 
be “Van Halen One” and “...And 
Out Come The Wolves” 1 

Trevor: Just a few move... Did 
you see the parody cover of “Suffer” by NOFX 
on their “Surfer” record? 

Brian: Yep. Its amazing. Everything Fat Mike 
does is genius. He is a genius and I love him. 
We’ll be touring with them all Summer and I’m 
so excited. 

Trevor: Whats the plan for the band from 
here... how many records are left in the band? 
Are there many more tours? 

Brian: I think theres two records. I dunno. One 
of the reasons the band has been around so long 
is because no ones really though beyond the next 
6 months. I know we’re going on the Warped 
Tour in the States and we’ve other countries to 
hit on the “Process of Belief’ tour. Then we’ll 
see about getting a record out and keep going as 
long as it isn’t shite. As long as its fun and we an 

Trevor: ...did you just pickup “shite” over 

Brian: ...No. I’ve been saying it 4 or 5 
years... ever since “Trainspotting” came out! 

Trevor: Last one. Everyone has the potential to 
be punk. True or False? 

Brian: False. Some people are just bom 

up the bands nostrils type shots making you wish you had taken 
such a cool photo yourself. The Mosh of Ass section rules as it 
covers demo releases only. (TM) 

Nosebleed #22 (3 euro ppd) 

Boz is back with the usual fare and with more articles than 
usual including a piece of “jacks graffiti'’. The interviews come 
in the form of Atom and His Package, Nedger Nemesis and 
M07’s. Theres also pieces on John Doe and John Lydon. 
Funniest piece of the whole zine is the page which claims lan 
Lawless is the dark lord and backs this claim up with amazing 
evidence! The artwork makes this essential everytime. (TM) 



Wonkavision # 18 (4.50 euro Tower) 

Great layout and brilliant zine. Interviews with Death Cab for 
Cutie, Atom and His Package, Tiger Army, Flogging Molly, 
Garrison, H20 and lots more lesser known bands. Very diverse 
and entertaining zine. (TM) 

S. s i 00t 

^ Fracture #21 

I’ll make no bones about it. Fracture is my favourite zine. The 
cover courtesy of Mid is full glossy and top notch. Interview wise I was in 
heaven with chats with Sworn In, Tear It Up, B-Core Disc, Strike Anywhere, 12 
Hour Turn and Out of Step Records. Possibly my favourite Fracture ever and not 
because Dave Stuart gave UFC # 5 a great review either! (TM) Po Box 623, 
Cardifff, CF3 42A,UK. fracturezine@hotmai 1 .com 

Riot 77 # 3 and #4(3 euro post paid) 

#3: 1 like the cover, its made up of each featured bands page layout. Nice. 
Overall it reminds me of Jakes Wrath and owes a lot to Microsoft 
Publisher. However the page layouts are very samey. Theres some write 
ups, namely a piece on Holidays in the Sun and James Parker’s “Turned 
On” book on Henry Rollins. The interviews which are decent collect 
Oxes, Bluetip, Reducers SF, Babes in Toyland , Skint, Propaghandi, GBH 
and Stiff Little Fingers together under one roof, which is a damn Fine mix 
and reeks of variety. The record reviews are a letdown in that they seem 
to stem from a small number of labels and the non-existent zine reviews 
causes me to worry a little. # 4. Full glossy eh? Now it can be called a 
magazine 1 guess. Interviews stay around the punk spectrum of things : 
TKO Records, The Generators, Hard Skin, Youth Brigade, The Dickies 
and Bad Manners. (TM) 31 Saint Patricks Park, Clondalkin, Dublin 22. 

Maximum RockNRoll # 229 & 231 (4.10 euro Tower) 

For all their right way of doing things bullshit 1 still find MRR a good read. 
They seem to be getting a slight bit more diverse too with ETA, Holier Than 
Thou, Countdown to Putsch among the interview of # 229 and Arme Petersens 
Army, Toys That Kill, Dirt and more making up the interview of 231. Its pricey 
though, especially since this is supposed to be DIY culture and all. (TM) 

Reason to Believe # 5 

Extremely DIY and printed in newsprint, RTB zine has a lot it wants to say. 
Interviews and articles from Imbalance, Anarchist Federation, etc and a squat 
scene report. I think they’re trying to link all the scene in the UK through this 
mag and fair play to them for trying. (TM) 145-149 Cardigan Rd., Leeds, LS6 

Where Eagles Dare # 2 

Excellent cut and paste hardcore zine. In the days when zine editors tend 
to mix the bands covered up as much as possible, its rare to find a zine so 
committed to one style. Where Eagles Dare shows its dedication to 
hardcore with interviews with In the Clear, Winter in June, The Hallowed 
and Bridge Nine Records. The photocopying job is of great quality with 
the photos as clear as day. Plenty of skate and wrestling stories and pics in 
here too. Pick it up from Promise Distro in Belfast, (address elsewhere). 
(TM) Where Eagles Dare, c/o 36 St. Peters Grove, Canterbury, Kent CT1 
2DJ, UK. 

No Ego# 1 (1.50 euro) 

DIY to the core. Very cut and paste and that’s cool. The content is all over the 
shop though with everyone from Muse to Dropkick Murphy’s featuring. Lots of 
live and demo reviews which I enjoyed. It’s a start and I reckon theres potential 
here too. (TM) 

Scanner# 10 & # 11 

Nice to get back reading Scanner again, following my return from my travels 
last year. Steve always writes an interesting ,diverse and every entertaining read, 
issues 10 and 11 is no different. His travel diary from NZ struck a lot of chords 
and revoked memories of my own travels there - although Steve seemed to have 
a more enjoyable time there than my good self, maybe because he didn’t fall 
into ice cold glacier water and ended up catching the flu. Interviews in # 10- 
which are always well thought out questions on Steve’s part - come in the form 
of HWM, Scuttle, Burning Airlines, Vanilla Pod, Anti-Flag, the Urchin and my 
least favourite band in the whole band -Frenzal Rhomb (See the interview, 
answers are pathetic - as pathetic as themselves, their attitude and their music.) 
# 1 1 has Manifesto Jukebox, Kids Near Water, Leftover Crack, The Freeze, The 
Pavers, The Dickies and AK Press. Great as always. (TM) 6 Chatsworth Drive, 
Rushmere Pk., Ipswich, Suffolk, IP4 5XZ,UK. 

Mass Movement #10 

Woh, theres a lot of reading in this one despite the fact its A5 in size. The 
small text packs the pages out and the photos and graphics are kept to a 
minimum to fit even more words in. Fast Times, Fear, The Freeze, MDC, 
Me First and the Gimme Gimmes, TSOL and Spennbirds make up the 
interviews while Conspiracy Corner, Unarmed Punk Rock Combat, 
George Bushs Brain and Wig Warn Bam - a guide to hippiedom serve as 
the features. All that and 14 columnists too! (TM) Mass Movement, c/o 
Tim, 18 Hazeldene Ave., Brackla, Bridgend, CF 31 2JW, South Wales, 

Runnin’ Feart#8 

Does what it says on the front - “Scotland’s Top Punk Fanzine”. I liked 
this one. Minimalist in style and layout but with very enjoyable interviews 
from Dogshit Sandwich to The Dangerfields, to Greenland Whale Fishers 
to The Warriors. Those bands alone should tell you what its all about. 
(TM) Runnin’ Feart, c/o Callum Masson, 12 Crusader Crescent, 
Stewarton, Ayrshire, Scotland KA3 3BL. 

Razorcake # 8 

Razorcake I like a lot. Reporting mostly on the Californian punk scene, the DS- 
13 surprisingly turn up in this one alongside Jello Biafra ad the Beltones. The 
columns are great with Rhythm Chickens European excursion being hilariously 
funny. (TM) 

Short Fast and Loud! #8 

Nice to pick up another copy of SFL. First time I came across it was a 
year ago in New Zealand when I found Issue 7 in a record store. Issue 8 
offers pretty much the same. Interviews with Chris(tine) Boarts of Slug 
and Lettuce zine fame. Shank, Stack, Iron Lung AND THE Cripple 
Bastards. The photos make this zine top notch. They’re amazing... right 

Change #12. 

A little out of date but brilliant all the same. Letters, book reviews, writings and 
a eye catching layout with class variation. Interviews are varied to from Shellac 
to In My Eyes , to Max Ward to Chaka from Bum/Orange 9mm. I want more of 
this soon. (TM) 


,V ;y,i ; 



In spite ofthethmgs you’ve done, you’re left with an arnffo 
In spite of the things you do, there’ll be no left there with yo 
In spite of the things you want, you will get what you’re due 

Noble Stabbings” by Dillinger Four 

“You like to stand on the other side 
Point and laugfiso self-satisfied 
Lines drawn ^oiiaidand^iUfo yi 
So plain and clear they distort ydur view 
Won’t be ashamed of the things I’ve done 
live for myself l can’t march to your drum 
Yon were lost to me long ago 
Tried to get past i/tou self righteousness 
But you kept me below ^ 

I am not unforgiving \ 

But l won’t take the fall V* % > 

Let the ashes surround us 

" ’ ,>,4 ' '"'-sir 1 ' r P<$. 

I am not gonna crawl through 
Broken glass and razoninre ' 1^1 

l don’t care if yesterday burns 
Stoke up the fire 

1 ^mW\ ‘ M s$* 

mj$gp - «8 - 

It’s like a shot when you read 
Destroying yourself is pi 
Cut off your nose to*spi 
There are some things i 
That time can’t erase, yp